Press enter after choosing selection

UMS Concert Program, Sunday Jan. 14 To 28: University Musical Society: 1996 Winter - Sunday Jan. 14 To 28 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: 1996 Winter
University Of Michigan, Ann Arbor

University Musical Society
of the University of Michigan Ann Arbor
the 1996 Winter Season
Dear UMS Patrons
Thank you very much for attending this event and for supporting the work of the University Musical Society. By the time this 199596 season comes to a close this spring, the UMS will have brought to the community 65 performances featuring many of the world's finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's understand?ing and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed at how a Midwest community of 110,000 can support the number and quality of performances that the UMS brings to Ann Arbor. They want to know how we do it, and I'm proud to tell them. Here's what I say:
O First, and most important, the people in Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And, according to our artists, they are among the most informed, engaged and appreciative audiences in the country.
O It has been the tradition of the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition continues today. Our patrons expect the best, and that's what we seek to offer them.
O Our special relationship with one of the country's leading educational institutions, the University of Michigan, has allowed us to maintain a level of independence which, in turn, affords us the ability to be creative, bold and entrepreneurial in bringing the best to Ann Arbor. While the UMS is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, UMS is a separate not-for-profit organization which supports itself from ticket sales, other earned income, grants, and contributions.
O The quality of our concert halls means that artists love to perform here and are eager to accept return engagements. Where else in the U.S. can Cecilia Bartoli perform a recital before 4,300 people and know that her pianissimos can be heard unamplified by everyone
O Our talented, diverse, and dedicated Board of Directors drawn from both the University and the regional community provides outstanding leadership for the UMS. The 200-voice UMS Choral Union, 55-member Advisory Committee, 275-member usher corps, and hundreds of other volunteers and interns contribute thousands of hours to the UMS each year and provide critical services that we could not afford otherwise.
O Finally, I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks for coming, and let me hear from you if you have any suggestions, complaints, etc. Look for me in the lobby or give me a call at 313.747.1174.
Kenneth C. Fischer Executive Director
Thank You Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the companies whose support of UMS though their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business com?munity.
Their generous support provides a solid base from which we are better able to present outstanding performances for the varied audiences of this part of the state.
We are proud to be associated with these companies. Their significant participation in our underwriting program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University Musical Society.
Kenneth C. Fischer Executive Director University Musical Society
James W. Anderson, Jr. President, The Anderson Associates Realtors The arts represent the bountiful fruits of our many rich
cultures, which should be shared with everyone in our community, especially our youth. The UMS is to be commend?ed for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
Howard S. Holmes President, Chelsea Milling Company The Ann Arbor area is very fortu?nate to have the
most enjoyable and outstanding musi?cal entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Chelsea Milling Company
Douglas D. Freeth President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group
in our community which perpetuates wonderful events not only for Ann Arbor but for all of Michigan to enjoy."
Carl A. Brauer, Jr.
Brauer Investment
"Music is a gift from
God to enrich our
lives. Therefore, I
enthusiastically support the University Musical Society in bringing great music to our community."
Joseph Curtin and Greg Alf
Oumm, Curtin & Alf "Curtin & Alfs support of the University Musical Society is both a
privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural oppor?tunities set new standards of excellence across the land.VoUi
L. Thomas Conlin Chairman of the Board and Chief Executive Officer, Conlin-Faber Travel The University Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
Conlin -Faber Travel
David G. Loesel
T.M.L. Ventura, Inc.
"Cafe Marie's
support of the
University Musical
Society Youth
Programs is an honor and a privilege. Together we will enrich and empower our community's youlh to carry for?ward into future generations this fine tradition of artistic talents."
Paul M. Montrone President and Chief Executive Officer, Fisher Scientific International, Inc. "We know ihe Uni-vcisin oi Mh liigan
will enjoy the Boston Symphony as much as we New Englanders do. We salute the University Musical Society' for making these performances possible."
Alex Trotman Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ-
ation with the University Musical Society, its concerts, and the educational programs that contribute so much to Southeastern Michigan."
William E. Odom
Ford Motor Credit
"The people of
Ford Credit are very
proud of our con-
tinning association with the University Musical Society. The Society's long-established commitment to Artistic Excellence not only benefits all of Southeast Michigan, but more impor?tantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
John Psarouthakis, Ph.D.
Chairman and Chief
Exeat tive Officer,
"Our community is
enriched bv the
University Musical Society. We warmly support the cultural events il brings to OUT area."
John E. Lobbia
Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the organi-
zations that make the Ann Arbor com?munity a world-renowned center for the arts. The entire community shares in the countless benefits of the excel?lence of these programs."
Robert J. Delonis Chairman and Chief Executive Officer, Great lMkes Bancorp "As a long-standing member of the Ann Arbor commu-
nity. Great Lakes Bancorp and the University Musical Society share tradiuon and pride in performance. We're pleased lo continue with support of Ann Arbor's finest art showcase."
Mark K Rosenfeld President,
Jacobson Stores Inc. "We are pleased to share a pleasant relationship with the University
Musical Society. Business and ihe arts have a natural affinity for community commitment."
Ronald Weiser Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud
to support the University Musical Society and the cultural contribution it makes to the community."
Frank A. Olson,
Chairman and CEO The Hertz Corporation "Hertz, as a global company, supports the University of Michigan Musical
Society mission of providing program?ming that represents and involves diverse cultural groups thereby fostering greater understanding and appreciation of these cultures."
Dennis Serras President, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate
that our business provides so many opportunities for supporting the University Musical Society and its con?tinuing success in bringing high level talent to the Ann Arbor community."
Thomas B. McMullen President, Thomas B. McMullen Co., Inc. "I used to feel that a U of M Notre Dame football ticket
was the best ticket in Ann Arbor. Not anymore. The UMS provides the best in educational rntcrlainmcnt."
Joe E. O'Neal
O'Neal Construction
"A commitment to
quality is the main
reason we are a
proud supporier of
the University Musical Society's efforts to bring the finest artists and special events to our community."
Iva M.Wilson
Philips Display
"Philips Display
Company is proud to support the University Musical Society and the artistic value it adds to the community."
Sue S. Lee
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding
organization as the Musical Society at the University of Michigan."
Larry McPherson President and COO, NSK Corporaiion "NSK Corporation is grateful for the opportunity to contribute to the
University Musical Society. While we've only been in the Ann Arbor area for the past 82 years, and the UMS has been here for 116, we can still appreciate the history they have with the city -and we are glad to be part of that history."
George H. Cress
Chairman, President,
and Chief Executive
Officer, Society Bank,
The University
Musical Society has
always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organizauon that continu?ally displays such a commitment to excellence."
Ronald M. Cresswell, Ph.D. Vice President and Chairman, Pharmaceutical Division, Warner Lambert Company
"Warner Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Michael Staebler
Managing Partner, Pepper, Hamilton & Schtetz
"Pepper, Hamilton and Scheetz con?gratulates the
University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Edward Surovell
The Edward SuroveU
Co. Realtors
"Our support of
the University
Musical Society is
based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Dr. James R. Irwin Chairman and CEO, The Invin Group of Companies President, Wolverine Temporaries, Inc. "Wolverine Staffing
began its support of the University Musical Society in 1984, believing that a commitment to such high quality is oixl for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
The University Musical Society of the university of Michigan
Board of Directors Herbert Amster
President F. Bruce Kulp
Vice-President Carol Shalita Smokier
Secretary Richard Rogel
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan LctitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell James J. Duderstadt
Walter M. Harrison Norman G. Herbert Kay Hunt Thomas E. Kauper Rebecca McGowan Joe O'Neal John Psarouthakis George I. Shirley John O. Simpson Herbert E. Sloan Edward D. Surovell Marina v. N. Whitman Iva Wilson Elizabeth Yhouse
Gail W. Rector President Emeritus
UMS Senate Robert G. Aldrich Richard S. Berger Carl A. Brauer.Jr. Allen P. Britton Douglas D. Crary John D'Arms Robben W. Fleming Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L. Kennedy Thomas C. Kinnear Patrick Long Judyth Maugh
Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
Kenneth Fischer Executive Director
Catherine Arcure Edith Leavis Bookstein Betty Byrne Yoshi Campbell Dorothy Chang Sally A. Cushing David B. Devore Erika Fischer Susan Fitzpatrick Rachel Folland Greg Fortner Adam Claser Michael L. Cowing Philip Guire Jessie Halladay Elizabeth Jahn Ben Johnson John B. Kcnnard.Jr. Michael J. Konziolka Ronald J. Reid Henry Reynolds
R. Scolt Russell Thomas Sheets Anne Griffin Sloan Jane Stanton Lori Swanson
Work StudyInterns
Laura Birnbryer Steven Chavez Rebecca DeStefano Jessica Flint Ann Hidalgo Jerry James Emily Johnson Naomi Kornilakis Janet Maki Odetta Norton Tans)' Rodd James Smart Risa Sparks Ritu Tuteja Scott Wilcox
Donald Bryant
Conductor Emrritus
1995-96 Advisory Committee Susan B. Ullrich, Chair Maya Savarino, Vice-Chair Kathleen Beck Maly, Secretary Peter H. deLoof, Treasurer
Gregg Alf Paulctt Banks Milli Baranowski Janice Stevens Botsford Jean nine Buchanan Letitia Byrd . Betty Byrne, Staff Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter deLoof Rosanne Duncan H. Michael Endres Don Faber Penny Fischer Barbara Gelehrter Beverley Geltner Margo Halsted Esther Heitler Deborah B. Hildebrandt Matthew Hoffmann Maureen Isaac Marcy Jennings Darrin Johnson Barbara Kahn
Mercy Kaslc Steve Kasle Heidi Kerst Nat Lacy Maxine Larrouy Barbara Levitan Doni Lystra Kathleen Beck Maly Howard Markel Margaret McKinley Clyde Metzger Ronald G. Miller Len Niehoff Karen Koykka O'Neal Marysia Ostafin Wendy Palms leva Rasmussen Maya Savarino Janet Shatusky Aliza Shevrin Shicla Silver Rita Simpson Ellen Stross James Telfer, M.D. Kathleen Treciak-Hill Susan B. Ullrich Dody Viola Jerry Weidenbach Jane Wilkinson Elizabeth Yhouse
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
General Information
University Musical Society
A uditoria Directory & Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and
west sides of the main lobby and are open only during the
winter months.
Rackham Auditorium: Coal rooms arc located on each side
of the main lobby.
Power Center: Lockers are available on both levels for a
minimal charge. Free self-serve coat racks may be found on
both levels.
Michigan Theater: Coat check is available in the lobby.
Drinking Fountains
Hill Auditorium: Drinking fountains arc located throughout
the main floor lobby, as well as on the east and west sides of
the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains arc located at the
sides of the inner lobby.
Power Center: Drinking fountains are located on the north
side of the main lobby and on the lower level, next to the
Michigan Theater: Drinking fountains are located in the
center of the main floor lobby.
Handicapped Facilities
All auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmastcr, and Bravo Society levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible public telephone is
located at the west side of the outer lobby.
Rackham Auditorium: Pay telephones are located on each
side of the main lobby. A campus phone is located on the
east side of the main lobby.
Power Center: Pay phones are available in the ticket office
Michigan Theater Pay phones are located in the lobby.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby. Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center. Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and reslrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
UMSMember Information Table
A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children We welcome children, but very young chil?dren can be disruptive to a performance. Children should be able to sit quietly in their own seats through?out a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction Please turn off or suppress electronic beeping and chiming digital watches or pagers during performances.
Cameras and Recorders Cameras and recording devices are strictly prohibited in the auditoria.
Odds and Ends A silent auditorium with an expec?tant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of pro?gram pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Ticket Services
Phone Orders and Information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313. area code, call toll-free
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Fax Orders 313.747.1171
Visit Our Box Office in Person At Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open go minutes before the performance time.
Gift Certificates Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
Returns If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduc?tion as refunds are not available. Please call 313.764.2538, 1 o a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
Now in its 117th season, the University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as the Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affili?ated with the University of Michigan. Professor Frieze, who at one time served as acting president of the University, became the first president of the'Society. The Society comprised the Choral Union and a concert series that featured local and visiting artists and ensembles. Today, the Choral Union refers not only to the chorus but the Musical Society's acclaimed ten-concert series in Hill Auditorium. Through the Chamber Arts Series, Choral Union Series, Jazz Directions, World Tour, and Moving Truths Series, the Musical Society now hosts over 60 concerts and more than 100 educational events each season featuring the world's finest dance companies,
opera, theater, popular attractions, and presentations from diverse cultures. The University Musical Society has flourished these 117 years with the support of a generous musicand arts-loving community, which has gathered in Hill and Rackham Auditoria, Power Center, and The Michigan Theater to experience the artistry of such outstanding talents as Leonard Bernstein, the Berlin and Vienna Philharmonic Orchestras, Sweet Honey in the Rock, the Martha Graham Dance Company, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, The Stratford Festival, The Beaux Arts Trio, Cecilia Bartoli, and the Chicago Symphony Orchestra.
Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strength?ened through educational endeavors, commissioning of new works, programs for young people, artists' residencies such as the Martha Graham Centenary Festival and the Society Bank Cleveland Orchestra Weekend, and through other collaborative projects.
While it is proudly affiliated with the University of Michigan, is housed on the Ann Arbor campus, and collaborates regularly with many University units, the Musical Society is a separate, not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
The University Musical Society Choral Union has performed throughout its 117-year history with many of the world's distinguished orches?tras and conductors.
In recent years, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson Thomas, Seiji Ozawa, Robert Spano and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles.
Based in Ann Arbor under the aegis of the University Musical Society of the University of Michigan the 180-voice Choral Union remains best known for its annual performances of Handel's Messiah each December. Two years ago, the Choral Union further enriched that tradition through its appointment as resident large chorus of the Detroit Symphony Orchestra. In January 1994 the Choral Union collaborated with Maestro Jarvi and the DSO in the chorus' first major commercial recording, Tchaikovsky's Snow Maiden, released by Chandos Records in October of that year. Last season, the ensemble joined forces with the DSO for subscrip?tion performances of Ravel's Daphnis el CMoe and Mahler's Symphony No. 2 (Resurrection). In 1995, the Choral Union established an artistic association with the Toledo Symphony, inaugurating the new partnership with a performance of Britten's War Requiem under the baton of Andrew Massey. This season, the Choral Union will again join the Toldeo Symphony for performances of Bach's Mass in b minor under conductor Thomas Sheets, and the Berlioz Requiem with Andrew Massey.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion a love of the choral art.
Hill Auditorium
Completed in 1913, this renowned concert hall was inaugurated at the 20th Annual Ann Arbor May Festival and has since been home to thousands of University Musical Society concerts, including the annual Choral Union Series, through?out its distinguished 82-year history.
Former U-M regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings. Hill bequested $200,000 for construction of the hall, and Charles Sink, then UMS president, raised an additional $150,000.
Upon entering the hall, concertgoers are greeted by the gilded organ pipes of the Frieze Memorial Organ above the stage. UMS obtained this organ in 1894 from the Chicago Colombian Exposition and installed it in old University Hall (which stood behind present Angell Hall). The organ was moved to Hill Auditorium for the 1913 May Festival. Over the decades, the organ pipes have undergone many changes in appearance, but were restored to their original stenciling, coloring, and layout in 1986.
Currently, Hill Auditorium is part of the U-M's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kzhn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
Rackham Auditorium
For over 50 years, this intimate and unique con?cert hall has been the setting for hundreds of world-acclaimed chamber music ensembles pre?sented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and pre?sented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architectural sculptor Corrado Parducci.
POWER CENTER for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation--Marcel Marceau.
The fall of 1991 marked the twentieth anniver?sary of the Power Center. The Power Family-Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip-contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,380 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS hosted its annual week-long theater resi?dency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20, 1994. In October 1994, UMS, the Martha Graham Dance Company, and ten institutional partners hosted
"In the American Grain: The Martha Graham Centenary Festival" commemorating the 100th anniversary of Martha Graham's birth. The Power Center was the site of open rehearsals, exhibits, workshops, and performances, including the 50th anniversary celebration of the premiere of the Martha GrahamAaron Copland collaboration Appalachian Spring (Ballet for Martha).
The Michigan Theater
The historic Michigan Theater opened its doors January 5, 1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior were then, as now, a marvel practi?cally unrivaled in Michigan. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, the Theater has undergone many changes. Talkies" replaced silent films just one year after the Theater opened, and vaudeville soon disap?peared from the stage. As Theater attendance dwindled in the '50s, both the interior and exterior of the building were remodeled in an architecturally inappropriate style.
Through the '60s and '70s the 1800-seat theater struggled against changes in the film industry and audiences until the non-profit Michigan Theater Found?ation stepped in to operate the failing movie house in 1979.
After a partial renovation which returned much of its prior glory, the Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. The Michigan Theater is also the home of the Ann Arbor Symphony Orchestra.
St. Francis of Assisi Catholic Church
In June of 1950, Edward Cardinal Mooney appointed Father Leon Kennedy pastor of a new parish in Ann Arbor. Sunday Masses were first celebrated at Pittsfield School until the first building was ready on Easter Sunday, 1951. The parish num?bered 248 families. Ground was broken in 1967 to build a permanent church building, and on March 19, 1969, John Cardinal Dearden dedicated the new St. Francis of Assisi Church. In June of 1987, Father Charles E. Irvin was appointed pastor.
Today, St. Francis of Assisi Catholic Church is composed of 2,800 families. The present church seats 800 people and has ample free parking. Since ig87janelle O'Malley has served as Music Director of St. Francis. Through dedication, a commitment to superb liturgical music and a vision into the future, the parish improved die acoustics of die church building. A splendid 3 manual "mechanical action" instrument of 34 stops and 45 ranks was built and installed by Orgues Letourneau from Saint-Hyacinthe, Quebec. The 1994 Letourneau Organ (Opus 38) was dedicated in December of 1994.
Burton Memorial Tower
A favorite campus and Ann Arbor landmark, Burton Memorial Tower is the familiar .mailing address and box office location for UMS concertgoers.
In a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of U-M alumni. Burton served as president of the University and as a Musical Society trustee from 1920 until his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, the UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donated labor, materials, and funds to this project
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live per?formance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15 to 10:45 a.m.
University Musical Society 1996 Winter Season
St. Louis Symphony Leonard Slatkin, conductor Linda Hohenfeld, soprano Thursday, January 18, 8pm Hill Auditorium Philips Educational Prrsrntation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", first in a series in which Professor Whiting discusses the con?cert repertoire, Michigan League, 7pm.
St. Petersburg Philharmonic Yuri Temirkanov, conductor Pamela Frank, violin Friday, January 26, 8pm Hill Auditorium Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Reheard", second in a series in which Professor Whiting discusses the con?cert repertoire, Michigan league, 7pm.
Made possible by a gift from Pepper, Hamilton & Scheetz.
The Guthrie Theater of Minneapolis
January 27-28, 1996
k. (Impressions from Kafka's
The THal)
Saturday, January 27, 8pm Sunday, January 28, 2pm Power Center Harold Pinter's Old Times Sunday, January 28, 7pm Power Center Philips Educational Presentations: Following each performance by the Guthrie Theater, members of the com?pany, along with Guthrie Education Coordinator Sheila Livingston and Guthrie Study Guide Editor Belinda Watmaasfones, will join distinguished University of Michigan professors, indicated below, for panel discussions: Saturday, fanuary 27 Joe Dowling, Artistic Director of the Guthrie Theater, "The Guthrie and Trends in Theater", 3rd Floor Michigan league, Koessler Library, 7pm. Saturday, January 27 (following the 8pm performance ofk.) Post-Performance Panel Discussion on stage with Ingo Seidler, UM Professor of German, and Fred Peters, UM Residential College Chair of Comparative Literature. Sunday, January 28 (following the 2pm performanc ok.J Post-Performance Panel Discussion, Power Center Green Room, with Professors Seidler and Peters (see above). Sunday, January 28 (following the
7pm pnformance oOld Times) Post-Performance Panel Discussion on stage, with Martin Walsh, UM Residential College Lecturrr in Drama and Head of Drama Constitution, and Enoch Brater, UM Professor of English Language and literature and Professor of Theater. The Guthrie Theater tour is sponsored by AT&T. Special support and assis?tance are provided by the National Endowment for the Arts, Arts Midwest, and Mid-America Arts Alliance.
Wynton Marsalis Lincoln Center Jazz Orchestra Octet Jazz at Lincoln Center Presents, "Morton, Monk,
Wednesday, January 31, 8pm Michigan Theater The UMSJazz Directions Series is pre?sented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University. Made possible by a gift from Thomas B. McMulien Company.
Feel the Spirit An Evening
of Gospel Music
The Blind Boys of Alabama
featuring Clarence Fountain,
The Soul Stirrers, and Inez
Thursday, February 1, 8pm
Hill Auditorium
The King's Singers Saturday, February 3, 8pm Hill Auditorium Made possible by a gift from First of America.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Recital V)
Sunday, February 4, 4pm Rackham Auditorium
Philips Educational Presentation: Garrick Ohlsson, 'Chopin In Our Time", Saturday, February 3, Rackham 4th Floor Assembly HaU, 4pm. Made possible by a gift from Regency Travel, Inc.
Boston Symphony Orchestra Seiji Ozawa, conductor
Wednesday, February 7, 8pm Hill Auditorium
Philips Educational Presentation: "The BSO: Ali the Questions You've Ever Wanted to Ask", an interview and audience Q&f A with: Leone Buyse, UM Professor of Flute and Former Principal Flute, BSO; Daniel Gustin, Manager of Tangiewood; Lois Schaefer, Emeritus Piccolo Principal, BSO; and Owen Young, Cellist, BSO; Michigan League, 7pm. Made possible by a gift from Fisher Scientific International
Latin Jazz Summit featuring Tito Puente, Arturo Sandoval, and Jerry Gonzalez and The Fort Apache Band
Saturday, February 10, 8pm Hill Auditorium Philips Educational Presentation: Dr. Alberto Nacif, Percussionist and WEMU Radio Host, "A Lecture Demonstration of Afro-Cuban Rhythms', Michigan League, 7pm. The UMSJotz Directions Series is presented with support from WEMU, 89.I FM, Public Radio from Eastern Michigan University.
Moscow Virtuosi Vladimir Spivakov, conductorviolinist Friday, February 16, 8pm Rackham Auditorium Philips Educational Presentation: Violinist and Conductor Vladimir Spivakov will return to the stage following the performance, to accept questions from the audience. Made possible by a gift from The Edward SurotvU Co.Realtors.
Saturday, February 17, 8pm Sunday, February 18, 4pm Power Center
Made possible by a gift from Regency Travel, Inc.
New York City Opera National Company Verdi's La TYaviata Wednesday, February 21, 8pm Thursday, February 22, 8pm Friday, February 23, 8pm Saturday, February 24, 2pm
(Family Show) Saturday, February 24, 8pm Power Center Philips Educational Presentations: February 21 Helen Sitdet, UMS Education Specialist, "Know Before You Go: An AudioVisual Introduction to 'La Traviata", Michigan League, 6:45pm; February 23 Martin Katz, Accompanist-Coach-Condutor, "The Specific Traviata", Michigan league, 7pm; February 24 ? Helen Siedet, UMS Education Specialist, 'Especially for Kids The Story of La Traviata", explained with music and videos. Green Room, I; 15-1:45pm. Power Center; Made possible by a gift from TriMas Corporation.
The Music of Hildegard von
Sunday, February 25, 7pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: fames M. Borders, Associate Professor of Musicology, "Medieval Music for a Modern Age", St. Francis of Assisi Church, 6pm.
Tokyo String Quartet Pinchas Zukerman,
Monday, February 26, 8pm Rackham Auditorium Philips Educational Presentation: Steven Moore Whiting, Assistant Professor of Musicology, "Classics Hfheard", third in a series in which Professor Whiting discusses the concert repertoire, Michigan League, 7pm. Made possible by a gififrom KMD Foundation.
John Williams, guitar Tuesday, February 27, 8pm Rackham Auditorium
San Francisco Symphony Michael Tilson Thomas, conductor
Friday, March 15, 8pm Hill Auditorium
Philips Educational Presentation: Jim Leonard, Manager, SKR Classical, "Mahler in Love: the Fifth Symphony", Michigan league, 7pm. Made possible by a gift from McKinley Associates, Inc.
The Complete Solo Piano Music of Frederic Chopin Garrick Ohlsson, piano (Grand Finale Recital VI)
Saturday, March 16, 8pm Hill Auditorium
Made possible by a gift from the Estate of William R. Kinney.
Min Ailey American Dance Theatre Tuesday, March 19, 7pm
(Family Show) Wednesday, March 20, 8pm Thursday, March 21, 8pm Friday, March 22, 8pm Power Center
Philips Educational Presentations: Robin Wilson, Assistant Professor of Dance, University of Michigan, "The Essential Alvin Ailey: His Emergence and Legacy as an African American Artist", March 20, Michigan League, Koessler Library, 7pm. l)r. Ijorna McDaniel, Associate Professor of Music, University of Michigan, The Musical Influences of Alvin Ailey", March 21, Michigan
league, Koessler Library, 7pm. (Christopher Zunnrr, Alvin Ailey Company Manager, and Company Member, "The Alvin Ailey American Dance Theater", March 22, Michigan League, Koessler Library, 7pm. This project is supported by Arts Midwest members and friends in partnership with Dance on Tour.
Borodin String Quartet Ludmilla Berlinskaya, piano Friday, March 22, 8pm Rnckham Auditorium Made possible by a gift from The Edxuard Surovcll Co.Reallm.
Guitar Summit II Kenny Burrell, jazz; Manuel Barrueco, classical; Jorma Kaukonen, acoustic blues; Stanley Jordan, modern jazz Saturday, March 23, 8pm Rackham Auditorium
Faculty Artists Concert Tuesday, March 26, 8pm Rackham Auditorium
The Canadian Brass
Saturday, March 30, 8pm Hill Auditorium Made possible by a gift from Great Lakes Bancorp.
Bach's b-minor Mass The UMS Choral Union The Toledo Symphony Thomas Sheets, conductor
Sunday, March 31, 2pm Hill Auditorium
I all is Scholars Thursday, April 11, 8pm St. Francis of Assisi Catholic Church
Philips Educational Presentation: Louise Stein, Associate Professor of Musicology, University of Michigan, To draw the hearer by chains of gold by the ears...': English Sacrtd Music in the Renaissance, St. Francis of Assisi Catholic Church, 7pm.
Ravi Shankar, sitar Saturday, April 13, 8pm Rackham Auditorium Philips Educational Presentation: Rajan Sachdeva, Sitar Artist and Director, Institute of Indian Music, "A LectureDemonstration of Indian Classical Music on Sitar ", Michigan League, 6:30pm.
Israel Philharmonic
Ziihin Mehta, conductor
Thursday, April 18, 8pm
Hill Auditorium
Philips Educational Presentation:
Steven Moore Whiting, Assistant
Professor of Musicology, "Classics
Reheard', fourth in a series in which
Professor Whiting discusses the concert
repertoire, Michigan Ijeague, 7pm.
Made possible by a gift from
Dr. John Psarouthakis, the
Paiedeia Foundation, andJPEinc.
Purcell's Dido and JEneas
Mark Morris Dance Group
Boston Baroque Orchestra
and Chorus
Martin Pearlman, conductor
with Jennifer Lane, James
Maddalena, Christine
Brandes and Dana Hanchard
April 19-20, 8pm
Sunday, April 21, 4pm
Michigan Theater
Philips Educational Presentation:
Steven Moore Whiting, Assistant
Professor of Musicology, University of
Michigan, "Classics Reheard", fifth
in a series in which Profesar Whiting
discusses the concert repertoire, SKR
Classical, 7pm.
This project is supported by Arts
Midwest members and friends in
partnership with Dance on Tour.
Ensemble Modern John Adams, conductor featuring the music of John Adams and Frank Zappa Tuesday, April 23, 8pm Rackham Auditorium Philips Educational Presentation: James M. Borders. Associate Professor of Musicology, "The Best Instrumental Music You Never Heard In Your Life", Michigan league, 7pm.
In an effort to help reduce distracting noises and enhance the concert-going experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 199.6 Lincoln Town Car to provide transportation for visiting artists.
bout the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society 1994-95 Season: dancer Arthur viles of the Bill T.JonesArnie Zane Dance Company m StillHere, pianist Garrick Ohlsson onstage at Rackham Auditorium for one installment of his six-recital cycle of the Complete Solo Piano Music of Frederic Chopin; the clarinets of Giora Feidman, featured in Osvaldo fGoIijov's The Dreams and Prayers of Isaac the Blind, a work cocommissioned by the University Musical Society which won Srst prize at this year's Kennedy Center Friedheim Awards.
of the University of Michigan i)()6 Winter Season
Event Program Book
Sunday, January 14, 1996
Sunday, January 28, 1996
1 iyth Annual Choral Union Series Hill Auditorium
33rd Annual Chamber Arts Series Rackham Auditorium
25th Annual Choice Events Series
The Boys Choir of Harlem 3
Sunday, January 14, 1996, 7:00pm Hill Auditorium
Saint Louis Symphony Orchestra 13
Thursday, January 18, 1996, 8:00pm Hill Auditorium
St. Petersburg Philharmonic 25
Friday, January 26, 1996, 8:00pm Hill Auditorium
The Guthrie Theater
Impressions from Kafka's The Trial Saturday, January 27, 1996, 8:00pm Sunday, January 28, 1996, 2:00pm Power Center
Harold Pinter's Old Times 43
Sunday, January 28, 1996, 7:00pm Power Center
General Information
We welcome children, but very young children can be disruptive to some performances. When required, children should be able to sit quieUy in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starling Time
Every attempt is made to begin con?certs on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please lake this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audito?rium and seat location and ask them to call University Security at 763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS per?formances included in this edition. Thank you for your help.
NSK Corporation
The Boys Choir of Harlem
Dr. Walter J. Turnbull,
Founder and Artistic Director
Sunday Evening, January 14, at y.oo
Hill Auditorium Ann Arbor, Michigan
Wolfgang Amadeus Mozart
Vesperae solennes de confessore, K. 339
Dixit Dominus Confitebor Beatus vir Laudate pueri Laudate Dominum Magnificat
Moses Hogan
Four Spirituals
Every Time I Feel the Spirit I Want to Thank You I'm Gonna Sing Elijah Rock
Gershwin Memories
Overture (excerpt from Rhapsody in Blue)
Our Love is Here to Stay
I've Got Rhythm
It Ain't Necessarily So
I've Got Rhythm (Reprise)
Jazz Greats
Stray hornEllington Take the "A" Train
Edward Kennedy Ellington It Don't Mean a Thing (If It Ain't Got that Swing)
HerzogHolidayarr. Sadin God Bless the Child
Pride and Hope
arr. Tsepo Mokone Liya Zula Byede Mandela
CooperTwine We are Heroes
arr. Don Sebesky Amazing Grace With my Whole Heart (Interlude)
JacksonSmith Rough Crossing
arr. Sadin I Can Go to God in Prayer
Turn bull Jones PerezCameron Power
Mervin Warren Children of the World
Twenty-first Concert of the 11 yth Season
25th Annual Choice Events African American Stories
Special thanks to Larry McPherson, President and COO, NSK Corporation for helping to make this performance possible.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and by Hammell Music, Inc., Livonia, Michigan.
This concert is copresented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the 1996 Dr. Martin Luther King, Jr. Day Symposium.
Columbia Artists Management, Inc., New York, New York
Large print programs are available upon request from an usher.
Vesperae solennes de confessore, k. 339
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg
Died December 5, 1791 in Vienna
Mozart wrote his Vesperae solennes de confessore, K. 339 at the age of twenty-four, in the aftermath of discovering that the world was not quite ready for him. He had essen?tially quit his position as a compser in the court of Count Colloredo in his hometown, had almost gotten his father fired in the process, and had left for Paris seeking his fortune with his mother as chaperone. He stopped in Mannheim along the way, and immediately fell in love with a soprano named Aloysia Weber, wasting time and resources, and pressing the patience of his parents by hoping to stay there. Fortune finally persuaded him to move on to Paris, where he made all attempts to impress the nobility and to find musical employment. Late in June of 1778, his mother developed a high fever, and died on July 3. This event shook and changed him, in the midst of the realization that he would never receive any substantial offer of musical employment in Paris. He left for home embarrassed, depressed and bewildered. On his way back, he stopped for consolation from Aloysia Weber, only to discover that she had forgotten him, and was already seeing someone else. Two years later, he married Aloysia's sister, Constanze. His father pleaded with the Count, begging forgiveness for his son and eventually managing to get Amadeus his job back. It was in the year following these events that the Vesperae were created in Salzburg, for the Count.
Vespers were a traditional part of the Roman Catholic liturgy of Divine Offices: services designed to take place at intervals from dawn through dusk. Vespers, die seventh
of eight Offices, were celebrated at sunset. Vespers comprise five psalm texts (110, 111, 112, 113 and 117), a hymn and the culminating "Magnificat" the Canticle of the Virgin Mary from Luke 1:46-55. Vespers, the only Office for which music other than Gregorian Chant was allowed by the Church, have been set to music by many composers both before and after Mozart, notably Monteverdi, Alessandro Scarlatti, Tchaikovsky, and Rachmaninoff. Mozart set the Vespers twice (K. 231 and K. 339, both of which are in C Major); both leave out the hymn to create a six-movement design. Six years earlier, he had also set the "Dixit Dominus" and "Magnificat"texts in C Major, K. 193. Mozart was known during his lifetime primarily as an opera composer, thus, operatic features often permeate his other work. It is particularly fascinating to hear how Mozart infuses a sacred text with the spirit of opera, while maintaining its strictly religious nature. Operatic features are often introduced in music given to soloists. In "Dixit Dominus,'' in the midst of contrasts, organizational com?plexity and juxtaposed styles, vocal soloists evoke opera briefly and subtly in its final section, prefacing the return of music heard earlier in the movement with a style unique to themselves. The middle section of "Confitebor" is like an operatic scene, and is given entirely to soloists. In the "Beatus Vir" and "Magnificat," soloists alternate widi the choir. Soloists and operatic qualities are lacking only in the J.S. Bach-influenced "Laudate Pueri," which in its austerity helps to prepare the jewel of the collection, "Laudate Dominum," set as an operatic aria for the soprano soloist.
Note by Dr. Jeffrey Johnson
Vesperae solennes de confessore, K. 339
Dixit Dominus Domino meo: sede a dextris
meis, donee ponam inimicos tuos scabel-
lum pedum tuorum. Virgam virtutis tuae emittet Dominus ex
Sion: dominare in medio einimicorum
tuorum. Tecum principium in die virtutis tuae, in
splendoribus sanctorum: ex utero ante
luciferum genui te. Juravit Dominus et non poenitebit eum: Tu
es sacerdos in aeternum secundum
ordinem Melchisedech. Dominus a dextris tuis confregit in die irae
suae reges. Judicabit in nationibus, implebit ruinas;
conquassabit capita in terra multorum. De torrente in via bibet: propterea exaltabit
Gloria Patri, et Filio, et Spirtui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen
Confitebor tibi Domine, in toto corde meo,
in consilio justorum, et congregatione. Magna opera Domini, exquisita in omnes
voluntates ejus. Confessio et magnificentia opus ejus: et
justitia ejus manet in saeculum saeculi. Memoriam fecit mirabilium suorum; mis-
ericors et miserator et Justus: escam dedit
timentibus se. Memor erit in saeculum testamenti sui.
Virtutem operum suorum annuntiabit
populo suo. Ut det illis hereditatem gentium: opera
manuum ejus veritas et judicium. Fidelia omnia mandata ejus: confirmata in
saeculum saeculi, facta in veritate et
Psalm no
The Lord said unto my Lord: sit thou at My right hand, until I make thine enemies thy footstool.
The Lord will send forth the sceptre of thy power out of Zion: rule thou in the midst of thine enemies.
With thee is die principality in die day of thy strength in the brightness of the saints: from the womb before die day star I begot diee.
The Lord hath sworn, and He will not repent: Thou art a priest forever accord?ing to die order of Melchisedech.
The Lord at thy right hand hath broken kings in the day of His wrath.
He shall judge among nations, He shall fill ruins: He shall crush die heads in the land of many.
He shall drink of the torrent in the way: dierefore shall He lift up the head.
Glory be to the Father and to die Son and
to the Holy Ghost. As it was in the beginning, is now, and ever
shall be, World without end. Amen.
Psalm m
I will praise Thee, O Lord, with my whole heart; in die council of die just, and in the congregadon.
Great are the works of the Lord: sought out according to all His wills.
His work is praise and magnificence: and His justice continueth for ever and ever.
He hadi made a remembrance of His wonder?ful works, being a merciful and gracious Lord: He hath given food to them that fear him.
He will be mindful for ever of His covenant: He will shew forth to His people the power of his works.
That He may give them die inheritance of the Gentiles: the work of his hands are trudi and judgment.
Redemptionem misit Dominus populo suo:
mandavit in aeternum testamentum
suum. Sanctum et terribile nomen ejus: initium
sapientiae timor Domini. Intellectus bonus omnibus facientibus eum:
laudatio ejus manet in saeculum saeculi.
Gloria Patri, et Filio, et Spirtui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
"Beatus vir"
Beatus vir qui timet Dominum: in mandatis
ejus volet nimis. Potens in terra erit semen ejus: generatio
rectorum benedicetur. Gloria et divitiae in domo ejus: et justitia
ejus manet in saeculum saeculi. Exortum est in tenebris lumen rectis: miseri-
cors, et miserator, et Justus. Jucundus homo qui miseretur et commodat;
disponet sermones suos in justitia; quia in
aeternum non commovebitur. In memoria aeterna erit Justus: ab auditione
mala non timebit. Paratum cor ejus sperare in Domino, non
commovebitur donee despiciat inimicos
suos. Dispersit, dedit pauperibus: justitia ejus
manet in saeculum, in saeculum saeculi:
cornu ejus exaltabitur in gloria. Peccator videbit, et irascetur, dentibus suis
fremet et tabescet: desiderium peccato-
rum peribit.
Gloria Patri, et Filio, et Spirtui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
All his commandments are laithtul: con?firmed for ever and ever, made in truth and equity.
He hath sent redemption to His people: He hath commanded His covenant for ever.
Holy and terrible is His name: the fear of the Lord is the beginning of wisdom.
A good understanding to all that do it: His praise continueth for ever and ever.
Glory be to the Father and to the Son and
to the Holy Ghost. As it was in the beginning, is now, and ever
shall be, World without end. Amen.
Psalm 112
Blessed is the man that feareth the Lord: he shall delight exceedingly in His command?ments.
His seed shall be mighty upon earth: the generation of the righteous shall be blessed.
Glory and wealth shall be in his house: and his justice remaineth for ever and ever.
To the righteous a light is risen up in darkness: He is merciful, and compassionate, and just.
Acceptable is the man that sheweth mercy and lendeth: he shall order his words with judgment, because he shall not be moved for ever.
The just shall be in everlasting remembrance: he shall not fear the evil hearing.
His heart is ready to hope in the Lord.
His heart is strengthened: he shall not be moved until he look over his enemies.
He hath distributed, he hathh given to the poor: his justice remaineth for ever and ever, his horn shall be exalted in glory.
The wicked shall see and be angry, he shall gnash with his teeth and pine away: the desire of the wicked shall perish.
Glory be to the Father and to the Son and
to the Holy Ghost. As it was in the beginning, is now, and ever
shall be, World without end. Amen.
"Laudate pueri"
Laudate pueri Dominum: laudate nomen
Domini. Sit nomen Domini benedictum, ex hoc
mine et usque in saeculum. A solis ortu usque ad occasum, laudabile
nomen Domini. Excelsus super omnes gentes Dominus, et
super coelos gloria ejus. Quis sicut Deus noster, qui in altis habitat, et
humilia respicit in coelo et in terra Suscitans a terra inopem, et de stercore eri-
gens pauperem: Ut collocet eum cum
principibus, cum principibus populi sui. Qui habitare facit sterilem in domo, matrem
filiorum laetantem.
Gloria Patri, et Filio, et Spirtui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
"Laudate Dominum"
Laudate Dominum omnes gentes: laudate
eum omnes populi. Quoniam confirmata est super nos miseri-
cordia ejus: et veritas Domini manet in
Gloria Patri, et Filio, et Spirtui Sancto: Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
Psalm 113
Praise the Lord, ye children: praise ye the
name of the Lord. Blessed be the name of the Lord: from
henceforth now and for ever. From the rising of the sun unto the going
down of the same, the name of the Lord is
worthy of praise. The Lord is high above all nations: and His
glory above the heavens. Who is as the Lord our God, who dwelleth
on high, and looketh down on the low
things in heaven and in earth Raising up the needy from the earth: and
lifting up the poor out of the dunghill. That He may place him with princes: with
the princes of his people. Who maketh a barren woman to dwell in a
house: the joyful mother of children.
Glory be to the Father and to the Son and
to the Holy Ghost. As it was in die beginning, is now, and ever
shall be, World without end. Amen.
Psalm 117
O praise the Lord, all ye nations, praise
Him, all ye people. For His mercy is confirmed upon us: and
the truth of the Lord remaineth for ever.
Glory be to the Father and to die Son and
to the Holy Ghost. As it was in the beginning, is now, and ever
shall be, World without end. Amen.
Magnificat anima mea Dominum, et exsul-
tavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillae suae:
ecce enim ex hoc beatam me dicent
omnes generationes. Quia fecit mihi magna qui potens est, et
sanctum nomen ejus. Et misericordia ejus a progenie in progenies
timentibus eum. Fecit potentiam in brachio suo: dispersit
superbos mente cordis sui. Deposuit potentes de sede, et exaltavit
humiles. Esurientes implevit bonis: et divites dimisit
inanes. Suscepit Israel puerum suum, recordatus
misericordiae suae. Sicut locutus est ad patres nostros, Abraham
et semini ejus in saecula.
Gloria Patri, et Filio, et Spirtui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
Luke I: 46-56
My soul doth magnify the Lord, and my spirit hath rejoiced in God my Savior.
Because He hath regarded the humility of His handmaid: for behold from hence?forth all generations shall call me blessed.
Because He that is mighty hath done great things to me: and holy is His name.
And His mercy is from generation unto generations, to them that fear him.
He hath shewed might in His arm: He hath scattered the proud in the conceit of their heart.
He hath put down the mighty from their seat and hath exalted the humble.
He hath filled the hungry with good things: and the rich He hath sent empty away.
He hath received Israel His servant, being mindful of His mercy.
As He spoke to our fathers: to Abraham and to his seed for ever.
Glory be to the Father and to the Son and
to the Holy Ghost. As it was in die beginning, is now, and ever
shall be, World without end. Amen.
The Black Spiritual, referred to as the Negro Spiritual before the 1950's, consti?tutes one of the largest single bodies of American folk songs. The former slave and Black leader, Frederick Douglas (c. 1817-95) wrote of singing spirituals when a slave: "A keen observer might have detected in our repeated singing of ' 0 Canaan, I am Bound for the land of Canaan' something more than a hope of reaching heaven."
Gershwin Memories
George Gershwin (1889-1937) was one of America's most prolific composers. The Boys Choir sings selections from his famous songs to his memory.
Jazz Greats
Jazz Greats is a choreographed representa?tion of the stylistic diversity within the Jazz genre. It opens with Duke Ellington's elegant and sophisticated "Take the 'A' Train" and "It Don't Mean a Thing' and ends with a tribute to one of the greatest song stylists, Billy Holiday, with "God Bless the Child."
Pride and Hope
The Boys Choir of Harlem represents more than just music making; it is a way of life. Songs like Liya Zula and Byede Mandela (a tribute to the new President of South Africa, Nelson Mandela) help to teach pride and hope for the people. We Are Heroes is an original piece written especially for the Boys Choir of Harlem by Lee Cooper and Linda Twine. Amazing Grace, one of the most popu?lar songs in this country, along with Rough Crossing represents our prayers and contin?ued hope for a better world. This section ends with the Gospel piece, Can Go to God in Prayer, an up-tempo representation of one of Black culture's greatest contributions to the genre.
The Boys Choir of Harlem's new album, Sound of Hope, (AtcoEastWest) features the last two songs, Power and Children of the World. Both of these songs are originals and represent the spirit of the Boys Choir of Harlem.
ecently named ' ne A of the Fifteen Greatest m Men on Earth"by McCall's
B1 magazine, Dr. Walter J.
k Turnbull is celebrating
twenty-five years of success mL B as the Founder and Artistic Director of the internationally acclaimed Boys Choir of Harlem. A focus on how to educate today's youth and motivate the future leaders of America is Dr. Turnbull's mission in life. He has developed a successful formula for educating inner-city children and often lectures on education and the arts throughout the country.
The Greenville, Mississippi native is an honors graduate of Tougaloo College. His high academic achievements and notable contributions to his alma mater earned him recognition in Who's Who in American Colleges and Universities. Dr. Turnbull earned his Master in Music and Doctor of Musical Arts degrees from the Manhattan School of Music. He also graduated from Columbia University School of Business Institute for Non-Profit Management and has received honorary degrees from Queens College, Tougaloo College, California State University, the Mannes College of Music, Hofstra University, Muhlenberg College and Skidmore College.
Dr. Turnbull has appeared as a tenor soloist with both the New York Philharmonic and the Philadelphia Orchestra. He made his operatic debut with the Houston Grand
Opera in Joplin's Treemonisha. Other operatic roles include Alfredo in La Traviata and Tamino in Die Zauberflote, both of which he sang with the Lake George Opera. He has performed in Carmen and Turandot with Opera South. Dr. Turnbull created the role of Antonio in the world premiere of Roger Ames' opera Amistad. He has also sung with the Godovsky Opera Theatre and young Audiences, Inc. Other credits include Carmina Burana with the Alvin Ailey Dance Theatre and Scott Joplin's Treemonisha on Broadway. Dr. Turnbull also gives solo recitals as his schedule permits.
A recipient of the William M. Sullivan Award, Dr. Turnbull has also been honored by the State of New York and the National Association of Negro Musicians. He has also received the President's Volunteer Action Award on behalf of the Boys Choir of Harlem from President Reagan at the White House.
Dr. Turnbull has received national and international recognition by the press. Most recently, Dr. Turnbull has been featured on Nightline (ABC), 2020 (ABC), The Today Show (NBQ, 60 Minutes (CBS), Amazing Grace vrith Bill Mayers (PBS) and CBS This Morning (CBS).
This evening's performance marks Dr. Turnbull's debut appearance under UMS auspices.
The Boys Choir of Harlem was founded by Dr. Walter J. Turnbull in 1968 as the Ephesus Church Choir of Central Harlem. Incorporated in 1975, in the ensuing
years it has grown from a small church choir to a major performing arts institution of international reputation. Still under the direction of Dr. Turnbull, the Boys Choir of Harlem (BCH) is currently celebrating its twenty-fifth Anniversary.
The Boys Choir of Harlem provides a positive, creative alternative for inner-city New York children. Its repertoire ranges from classical music to jazz, contemporary songs, gospel and spirituals. Over the years, the Boys Choir of Harlem has provided a conduit for hundreds of children to direct their lives into productive channels. The Choir's programs include comprehensive music and academic education, counseling and tutoring.
In 1988, the Choir reinstituted its program for girls, and the entire Choir now consists of four hundred and fifty young people between the ages of eight and eighteen. Members are arranged into three groups: the Preparatory Choir, Concert Choir, and Girls Choir. The thirty-five to forty boys who comprise the touring Performing Choir are chosen from the two-hundred-member Concert Choir on a rotating basis. Individual academic performance, attendance, and progress at rehearsals as well as voices needed for balanced sound, are the criteria used to select this elite group of performers. The remaining Choir members also have limited appearances at local events.
The Boys Choir of Harlem has performed at many of diis country's most auspicious occasions, including the rededication of the Statue of Liberty, Nelson Mandela's arrival in the United States after his long imprison?ment, the 500th anniversary celebrations of Columbus's arrival, the opening session of the United Nations General Assembly, and several White House state dinners. At home in New York City, BCH has appeared at die Avery Fisher, Alice Tully, Carnegie and Radio City Music halls. In 1993 they were a popular success in The Boys Choir of Harlem and Friends LIVE on Broadway and drew rave reviews. Later diat year they appeared with Patti Austin, Peabo Bryson and Jeffrey Osborne in The Colors of Christmas at the Beacon Theatre. In May 1994, BCH came home to Harlem with two performances at
Harlem's world-famous Apollo Theatre. In addition to its heavy national and international touring schedule of eighty to one hundred performances annually, the Boys Choir of Harlem has recorded extensively with a diverse range of artists. Their first contempo?rary solo album, "The Sound of Hope" was released in October 1994 on Eastwood Records America, part of the Atlantic Warner Bros., Inc. label.
The Boys Choir not only teaches music, but prepares its members for productive lives. The Choir Academy of Harlem was created as the Boys Choir of Harlem Academy in 1987 to give BCH members access to academic train?ing at the same level of excellence as the musical training they had been getting at BCH after school. In September 1993 BCH moved to its new and larger home, a New York City Board of Education facility in order to expand the Academy through high school and add girls to the student body for the first time. In June 1996 the first Academy twelfth-graders will graduate to continue BCH's tradition of ninety-eight percent college attendance.
During the summer Choir members train at BCH's Summer Music Institute, in Harlem and at Skidmore College in Saratoga Springs, New York. A staff of four full-time counselors work year-round in concert with the academic and artistic staff to fulfill BCH's mission:
The Boys Choir of Harlem is an artistically driven organization dedicated to providing students with a broad-based education. Through a holistic program of education, counseling and the performing arts, the Boys Choir of Harlem prepares inner-city youth to become disciplined, confident, motivated and successful Americans.
This evenings performance marks the Boys Choir of Harlem's debut appearance under UMS auspices.
Concertato for Orchestra, "Moby Dick"
Peter Mennin
Born May iy, 1923 in Erie, Pennsylvania
Died June iy, 1983 in New York City
The Concertato, composed in 1952 on commission from the Erie Philharmonic Orchestra in celebration of the centenary ofMennin's native city, was first performed there on October 20 of that year, with Fritz Mahler conducting.
The score calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, snare drum, bass drum, cymbals, suspended cymbal, and strings. Approximate performance time: eleven minutes.
Peter Mennin was in his early twenties when he achieved prominence among American composers. His Third Symphony, completed on his twenty-third birthday, was introduced before his twenty-fourth by the New York Philharmonic under Walter Hendl, and that orchestra subsequendy recorded it under Dimitri Mitropoulos. The work identified Mennin as one of the few major American symphonists; he was to produce a total of nine symphonies, the last commis?sioned by the National Symphony Orchestra, which introduced it under Mstislav Rostropovich in March 1981. At that tjme Mennin was president of The Juilliard School, having succeeded William Schuman in 1962 when Schuman took up the presi?dency of Lincoln Center. Leonard Slatkin, who has championed both composers' works and later diis year succeeds Mr. Rostropovich as music director of the National Symphony Orchestra, was a student at Juilliard early in Mennin's tenure..
The Concertato, the most successful of Mennin's shorter works for orchestra, pre?ceded the Third Symphony by a year. Toward the end of 1951 Mennin was given the draft
of a libretto for a proposed operatic treatment of Moby Dick, which moved him to re-study Melville's novel. At the same time, Mennin was given a commission from the Erie Philharmonic for a work in honor of his hometown's centenary; instead of an opera he composed the Concertato, which he stated, is "a dramatic work for orchestra, motivated by the Melville novel, and depicts the emo?tional impact of the work as a whole, rather than musically describing isolated moments." (Mennin retained connections with Erie throughout his life; Walter Hendl, who conducted the momentous premiere of his Third Symphony, ended his own career as music director of the Erie Philharmonic, following several years as director of the University of Rochester's Eastman School of Music, Mennin's alma mater.)
That the piece is not a musical description of the action in Moby Dick, but, rather, a reflection of the novel's overall effect on a particular reader, is indicated in the title Concertato, which has nothing to do with the symphonic poem concept or any sort of musical picture-painting. The term has not been in general use for more than two-hundred years. One of its uses, in the time of Corelli and Vivaldi, was to distinguish a solo instrument from continuo forces, as in a keyboard concerto with a cembalo concerlato and another harpsichord in the continuo. The term also bears a relationship to the works of the high baroque in which antiphonal choirs of voices andor instruments were used. The common thread is that of con?trasting forces. In the case of the present work, the title, according to Mennin, may be said to identify a miniature "concerto for orchestra," in which the various instrumen?tal choirs alternate in prominence. The composer provided this outline of the work:
The composition opens very quietly with a sustained note in the first violins against which a characteristic harmonic idea is introduced by the woodwinds. This is then
used many times in variation throughout the work. Aside from several new ideas which are introduced in the "Allegro, " the introduc?tory section contains most of the materials for the whole work. The diversity and contrast in the materials themselves dictate the kind of growth and expansion they receive, and therefore the music unfolds along purely musical lines.
Cindy McTee
Born February 20, 1953 in Washington State
Now living in Denlon, Texas
Circuits was composed in 1990 under a commis?sion from the Denlon Chamber Orchestra, which gave the premiere on April 21 of that year under Jonathan Roller. The full orchestra version of this work was introduced by the National Repertory Orchestra, Steven Smith conducting, in Keystone, Colorado, on August 14, 1991. A version for concert band was given its first performance on February 2 of that year by the Indiana University Wind Ensemble, conducted by Ray Cramer.
The score, as revised in 1992, calls for three flutes, three oboes, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, snare drum, small bass drum, cowbell, four Almglocken, metal plate, two wood blocks, two small suspended cymbals, five temple blocks, tambourine, glockenspiel, vibraphone, and strings. Approximate performance time: six minutes.
After completing her undergraduate studies with David Robbins at Pacific Lutheran University in Tacoma, Washington, Cindy McTee earned a Master of Music degree at Yale University, where she studied with Jacob Druckman, Bruce MacCombie and Krzysztof Penderecki, and a Ph.D. at the University of Iowa under the direction of Richard Hervig. Her training also included
a year at the Higher School of Music in Krakow, where she studied further with Penderecki and his compatriots Marek Stachowski and Krystyna Moszumanska-Nazar. Her own teaching experience began at her alma mater in Tacoma in 1981; after three years there she joined the faculty of the University of North Texas in Denton, where she now is a professor of music.
Leonard Slatkin and the Saint Louis Symphony Orchestra first performed McTee's music in 1987, when one of her works, On Wings of Infinite Night, was included in the readings program under the sponsorship of the American Symphony Orchestra League. Her music was part of the celebration of her teacher Penderecki's sixtieth birthday in Krakow, in 1993, and her works have been performed widely in our own country -by more than fifty orchestras and wind ensembles in venues ranging from Carnegie Hall to university campuses. Among her numerous honors and awards are a Composer's Fellowship from the National Endowment for the Arts, a Goddard Lieberson Fellowship from the American Academy and Institute of Arts and Letters, a Senior Fulbright Scholar Lecturing Award in electronic music at the Academy of Music in Krakow, a BMI Award, the Woods-Chandler Memorial Prize from Yale, and commissions from the Barlow Endowment for Music Composition, the American Guild of Organists, the College Band Directors National Association, and the Pi Kappa Lambda Board of Regents.
As noted above, Circuits exists in three versions; those for chamber orchestra and for full orchestra were actually created at the same time, and the one for concert band only a few months later. The full orchestra version had its first hearing in the "Spirit of Today's West" Composers Competition held in Keystone, Colorado in the summer of 1991, and was one of the six works in the final round of that event. By that time the band version had also been
introduced, and since then the full orchestra version has been heard in Memphis and elsewhere.
The composer, who advises that she was interested in writing a work with a strong pulse and with ostinatos, but that it is not meant to be in the minimalist style, explains the title:
Circuits is meant to characterize several important aspects of the work's musical lan?guage: a reliance upon circuitous structures such as ostinatos; the use of a formal design incorporating numerous recurring short sections; and the presence of an unrelenting kinetic energy achieved through the use of sixteenth-notes at a constant tempo of 152 beats per minute.
Evening Land, Symphony
Joseph Schwantner
Born March 22, 1943 in Chicago
Now living in Fairport, New York
Evening Land, commissioned jointly by the Barlow Endowment for Music Composition at Brigham Young University and the Saint Louis Symphony Orchestra, was completed in September 1995 and received its premiere performances on November 24, 25, and 26, 1995, with Leonard Slalkin, conductor, and Linda Hohenfeld, soprano. The sung text is drawn from poems by Par Lagerkvist. The score, "dedicated, with admiration, to Milton Barlow, a man of extraordinary vision and humanity, " calls for soprano solo with two flutes, piccolo, two oboes, English horn, two clar?inets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two bass drums, three tom-toms, timbales, marimba, xylophone, vibraphone, tubular bells, two-octave set of crotales, glockenspiel, two tam-tams, suspended cymbals, suspended triangles,
amplified piano, amplified harpsichord, harp, and strings. Approximate duration: twenty-five minutes.
The close connections between Leonard Slatkin and Joseph Schwantner over the last decade and a half make it especially fitting that a new work by Mr. Schwantner should be among the features of Mr. Slatkin's valedictory season as music director of the Saint Louis Symphony Orchestra. Since September 1980, when he introduced Aftertones of Infinity (the work for which Mr. Schwantner received the Pulitzer Prize the previous year) into the orchestra's repertory, Mr. Slatkin has conducted eight other Schwantner works with the SLSO, and recorded four. Several of these -Magabunda (Four Poems of Aguda Pizarro), A Sudden Rainbow, the Piano Concerto -were com?missioned and introduced by the SLSO, either during or following Mr. Schwantner's tenure as the orchestra's first composer-in-residence (1982-85). Mr. Slatkin has also been conspicuously active in conducting Mr. Schwantner's music in his guest appearances with other orchestras in our country and abroad; he recorded Aftertones of Infinity with The Juilliard Orchestra several years ago, and in January 1995 presided over the New York Philharmonic's world premiere perfor?mances of the Schwantner Percussion Concerto, commissioned by that orchestra in celebration of its sesquicentenary (and dedi?cated to the memory of the composer's friend and colleague Stephen Albert). The new work being performed in tonight's concert further documents this long and productive relationship by including a solo part written specifically for Linda Hohenfeld, a singer who also has performed several of Mr. Schwantner's works and who holds a position of unique importance in Mr. Slatkin's life.
The title Evening Land is that of a collec?tion of poems by the Swedish novelist, poet
and Nobel laureate Par Lagerkvist (1891-1974), whose poems have been set as songs by the Finnish composer Yrjo Kilpinen and others. Lagerkvist's Aftonland, first published in Stockholm in 1953, was subsequently brought out in a bilingual edition with English translations by W.H. Auden and Leif Sjoberg. Mr. Schwantner, who has taken his text for the present work from four of these poems, has remarked that they
. . . evoke a sense of transcendence, timeless-ness and universality, all qualities that helped frame the direction and flow of my 7nusical imagination. In his ninth collection of poems, Lagerkvist considers old age, the mystery of life and of God, loneliness, alien?ation, and the coming of death.
The poems, in fact, had inspired an earlier work of Mr. Schwantner's, the orches?tral piece Long before the Winds, which was introduced by the San Diego Symphony under Vassili Sinayski in November 1989. That work, whose title zuas taken from a line in one of Lagerkvist's poems, did not include an actual setting of words; it has been with?drawn and now, as Mr. Schwantner advises, forms the basis for his new symphony.
The large-scale bipartite formal design of the symphony consists of a first movement for orchestra alone and a second that includes a soprano voice in a setting of selected poems from Aftonland. The musical genesis for the work springs from a short piece written for the San Diego Symphony Orchestra, music that was strongly influenced by the powerful imagery of Lagerkvist's poetry. I revised, expanded and further developed the musical materials in order to engage more fully Lagerkvist's mysteriously compelling world.
As the first movement opens, three pri?mary musical elements appear: (1) a strongly punctuated four-note sonority, sharply artic?ulated by low winds, brass and strings; (2) an upwardly sxveeping nine-note gesture, derived from the opening four notes, stated
by upper winds and strings with percussion, harp and piano; (3) a softly sustained string sonority derived from (2). While they differ in expression, character and shape, each subsequent idea develofis from the pre?ceding one in an organic continuum. The rondo-like movement unfolds in a series of sections in which these fundamental musical elements reaftpear and are continually! juxta?posed.
Throughout the slow, elegiac second movement, a series of chorale-like harmonic textures unfolds over low orchestral pedal points while the soprano sings in a recitative-like manner. In contrast to the first movement, the second possesses a seamless and continuous quality in order to capture and enhance the simplicity, seriousness and universality of Lagerkvist 's poetic voice -to embrace, as he remarks, "simple thoughts, uncomplicated feelings when confronted with life's eternal powers. " As the work draws to its close, the soprano slowly moves to an off?stage position xohile continuing to intone a solemn, intimate and meditative incantation: "Long before the sea, long before the moun?tains, long before the winds. "
--Joseph Schwantner
Evening Land
by Par Lagerkvist
Delightful being, morning with rosy lips,
sing for me. Sing a song, early and clear like dew, like
young glass,
a song that transfigures everything.

All is there, only I am no more,
all is still there, the fragrance of rain in the
grass as I remember it, and the sough of the wind
in the trees, the flight of the clouds and the disquiet of
the human heart.
Only my heart's disquiet is no longer there.

I listen to the wind that obliterates my traces.
The wind that remembers nothing, under?stands nothing nor cares what it does, but is so lovely to listen to.
The soft wind,
soft like oblivion.
When the new morning breaks
I shall wander further,
in the windless dawn begin my wandering
with my very first step in the wonderfully untouched sand.

My longing is not my own. It is just as old as the stars. Once born like them out of Nothing, out of the boundless void.
The murmur in the trees,
the beating of the wave against the shore,
the tall mountains far away --
they arouse my longing.
But not to anything here.
To something infinitely far away,
something long, long ago --
Long before the sea, long before the
mountains, long before the winds.
Music by Joseph Schwantner, O1995 by Helicon Music Corporation. Text from Evening Ijind by Par I,agerkvist. English Translation by W. H. Auden and Leif Sjoberg, O 1975 by Wayne State University Press; English transla?tion used with permission of publisher. All Rights Reserved. Used by permission of European American Music Distributors Corporation, sole U.S. and Canadian agent for Helicon Music Corporation.
Symphony No. i in A-flat Major, Op. 55
Sir Edward Elgar
Born June 2, 185J in Broadheath, England
Died February 23, igj4 in Worcester
Elgar began sketching his First Symphony at Hereford in June 190J, continued to shape the work during a visit to Rome the following winter, and completed it in the summer of 1908. The score bears a dedication to "a true artist and true friend, " Hans Richter, who conducted the first per?formance in a concert of the Halle Orchestra in Manchester on December 3, 1908.
The orchestra indicated in the score comprises four flutes and piccolo, four oboes and English horn, four clarinets and bass clarinet, four bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, cymbals, bass drum, side drum, two harps, and strings. Approximate performance time: fifty-two minutes.
Brahms, intimidated by the specter of Beethoven, did not complete a symphony until he was forty-three years old, though he worked on it off and on for some twenty years or more. Elgar, whose orchestral output was vastly larger than Brahms's, did not set to work on a symphony until the month in which he turned fifty; it took him only a year to complete the score, but he was to produce only two works in this form (though a start was made on a third). One thing Brahms and Elgar shared as symphonists was the enthusiasm of the great conductor Hans Richter, who was as ardent a champion of Elgar's works during his British years as he had been of Brahms's in Vienna.
Just four days after he presided over the premiere of the Elgar First Symphony in Manchester, Richter conducted the work in London, on which occasion he proclaimed it "the greatest symphony of modern times." He was not alone in his enthusiasm; the
Manchester and London premieres touched off even greater jubilation among Britons than the Brahms First had in Germany and Austria thirty-two years earlier, and within little more than a year there were one hundred further performances.
While Richter's pronouncement may smack of hyperbole, particularly to partisans of Mahler (whose Seventh Symphony was introduced in Prague in September 1908, and whose Eighth Symphony and Das Lied von derErdewere completed by then), there is no denying that this Symphony in A-flat, represents the highest achievement in British orchestral music up to its time, as well as what the English musicologist H. C. Colles identified as "the majestic opening of the richest period in Elgar's career."
While Elgar had composed music for a children's play when he was only twelve years old (music he revised, published, and performed at the age of fifty as his Op. 1, the two Wand of Youth suites), he did not write for large orchestra at all until 1890, when he composed the concert overture Froissart, and not again until the Imperial March of 1897. It was with choral works that he achieved the recognition he enjoyed dur?ing the nineties, and the cantata Caractacus, performed at the Leeds Festival of 1898, brought that recognition to a gratifying level (with The Dream ofGerontius then still two years in the future). The Enigma Variations, composed the following spring and intro?duced in London under Richter's baton in June 1899, actually represented Elgar's first major work for large orchestra. That success?ful premiere was followed by Elgar's own performance of the revised version (with the coda suggested by Richter) at Worcester three months later, whereupon the work established him solidly as a master whose only rival in the orchestral sphere, many insisted, was Richard Strauss.
Apparently Elgar gave no serious thought to writing a symphony until 1898,
when he considered writing one as a tribute to General Gordon. He composed the Enigma Variations instead, then wrote Gerontitis, a number of other choral works (The Apostles, The Kingdom, etc.), the splendid Cockaigne Overture, the Introduction and Allegro for string orchestra, the first four Pomp and Circumstance marches, and various occasional pieces related to the coronation of Edward vn (to whose memory the Second Symphony is inscribed). Evidently Elgar's sense of timing was right, for each of these works, in its own way, reflects the happiest blend of sheer inspiration and polished craftsmanship appropriate to its particular form. There was nothing impulsive in Elgar's makeup; he was not one to go off half-cocked, or to allow a trace of the earnest novice in what he offered to the public. When he did take up a symphony, it was with the full confidence that he knew what he wanted to do and was capable of carrying it off grandly.
The significance of his achievement in this case went beyond the purely musical context. The time was one of great upheaval in Europe, even if few observers then had any notion of what was to burst upon them in 1914, or how the lives of both individuals and nations were to be altered. For England the year in which the symphony was intro?duced was one of profound economic depression. The Edwardian interlude, and Elgar's symphonies as musical reflections thereof, tend to be regarded as smug, self-satisfied, disdainful of the world beyond the boundaries of the club, the court, the formal garden, the hunt, and various military and religious ceremonies. Elgar himself knew better; when pressed to divulge a "program" for his symphony, he replied that it had no specific theme "beyond a wide experience of human life, a great charity (love), and a massive hope in the future."
The term nobilmente may not have been invented by Elgar, but he made it his own,
particularly with his use of it in the opening movements of both of his symphonies. The introduction to the First, marked "Andante nobilmente e semplice," is built on a theme whose grandeur lies in the very austerity of its deliberate tread; it has to be the "motto" theme for the work, and so it is. The "Allegro appassionato" bursts forth and a number of restless themes swirl through this broadly proportioned movement before it reaches its luminous conclusion following a restatement of the tread-like "motto."
A more assertive march-like figure grows out of the darting, mercurial opening of the second movement "Allegro molto," an extremely brilliant scherzo, though not so titled. The middle section has a deliciously insinuating, somewhat folk character, rather like the trio of the second Pomp and Circumstance march -the sort of tune that stays in one's head for weeks. (Elgar said it should be played "like something you hear down by the river"). The scherzo comes to an end with a gradual slowing-down and a hint of the "motto" theme, and passes seam?lessly into the "Adagio." The opening theme of the slow movement may be recognized, on paper, as that of the preceding scherzo, but the treatment is so different that this is much less apparent to the ear alone.
The "Lento" introduction to the final movement has a somewhat ominous character; it is a fleeting reference to the "motto" theme, now limpid and flowing, that provides a reassuring touch. Progress into the main body of the movement is unhurried, and when the "Allegro" theme emerges, restless and soaring, its affirmative nature is unmis?takable. The "motto" theme reappears in its original tread-like guise, and in the majestic coda marked "Grandioso" it is transformed into a sweepingly triumphal statement as if the " massive hoe" of which Elgar spoke had itself been transformed into ringing certitude.
Notes by Richard Freed
Leonard Slatkin, Beofor Music Director and Conductor, first came to the Saint Louis Symphony Orchestra in 1968 as assis?tant conductor to Walter Susskind. Since that time his contributions to the SLSO have been exceptional in achievement and scope. Upon being named music director and conductor in 1979, Slatkin quickly estab?lished goals for the organization in the areas of touring, recording, education, and com?munity involvement. Now, seventeen years later, the realization of those goals has made the SLSO an exceptional orchestra, primed for the twenty-first century. Acclaimed tours of Europe (1985 and 1993) and the Far East (ig86, 1990, and 1995) elevated the orchestra's reputation as one of the finest in the world. His recordings with the SLSO received fifty Grammy Award nominations over the last seventeen years, winning four awards during this period. Weekly broadcasts of concerts on National Public Radio strengthened the orchestra's appeal across the United States.
Maestro Slatkin's vision for the orchestra's role in music education led to the Saint Louis Symphony Community Music School, the first merger of an orchestra and a commu?nity music school in the nation. As associate conductor, he established the Saint Louis Symphony Youth Orchestra in 1969 with the help of the Volunteer Association. His commitment to diversity was an inspiration behind the Community Outreach Program and IN UNISON?, a partnership between African-American churches and the SLSO, which now is considered a national model. The Community Partnership Program, a novel program which matches the musicians of the orchestra with the needs of the com?munity, is an extension of Maestro Slatkin's
own personal involvement in the Saint Louis area.
After twenty-seven years of affiliation with the SLSO, Leonard Slatkin will step down as music director at the end of this season and assume the title of Conductor Laureate. At that time he will become Music Director of the National Symphony Orchestra.
Leonard Slatkin records for BMG Classics, an international company that includes RCA Victor Red Seal, Eurodisc and Deutsche Harmonia Mundi. His contract with the company, the most comprehensive and extensive in the classical recording industry today, calls for a total of forty discs -thirty with the SLSO and ten with orchestras in Europe. Recent releases include a recording of Mahler's Symphony No. 10 in a perfor?mance version by Remo Mazzetti and a Leroy Anderson disc with the SLSO, and Haydn's Symphonies Nos. 94, g8, and 104 with the London Philharmonia.
Maestro Slatkin is in great demand world?wide as a guest conductor, with regular appearances over the last two decades with the major orchestras of New York, Philadel?phia, Chicago, Cleveland, and Boston, die Philharmonia (London), the Berlin Philhar?monic, the Vienna Philharmonic, the Royal Concertgebouw Orchestra, the English Chamber Orchestra, l'Orchestra de Paris, and the Israel Philharmonic. This season he will return to conduct the Philharmonia, the New York Philharmonic, and the Orchestre National de France, among other engagements.
Equally acclaimed as an opera conductor, he has conducted the Metropolitan Opera, Vienna State Opera, Hamburg Opera, Stuttgart Opera, Lyric Opera of Chicago, and Opera Theatre of Saint Louis.
Mr. Slatkin recendy completed his fourth summer as music director of the Blossom Music Festival of The Cleveland Orchestra. The position, the first such appointment in
the twenty-three-year history of the festival, was created for him because of his unique talents for creative programming.
Other honors Mr. Slatkin has received include ASCAP Awards in 1984, 1986, 1990 and 1994 for "adventuresome programming of contemporary music" with the SLSO, Grammy nominations for two of his record?ings with the Philharmonia, and several honorary doctorates, including one from his alma mater. The Juilliard School. In 1993 he received the Laurel Leaf Award from the American Composers Alliance and was named an honorary member of the Royal Academy of Music.
Leonard Slatkin was born in Los Angeles, California. His parents, conductor-violinist Felix Slatkin and cellist Eleanor Aller, were founding members of the famed Hollywood String Quartet. After beginning his musical career on the piano, Mr. Slatkin first studied conducting with his father and continued with Walter Susskind at Aspen and Jean Morel at The Juilliard School.
This evening's performance marks Maestro Slatkin's second appearance under UMS auspices.
versatile performer,
soprano Linda Hohenfeld
has appeared in a wide
range ol musical media, fmmtm including opera, musi-M cal theater, symphonic
KL mKi inn i-i is. recitals, and
chamber music. She has sung with many of North America's leading orchestras, including the Baltimore Symphony Orchestra, The Cleveland Orchestra, Minnesota Orchestra, National Symphony Orchestra, New York Philharmonic, Philadelphia Orchestra, and Pittsburgh Symphony Orchestra. Ms. Hohenfeld's appearances in Europe include performances in Great Britain with the Philharmonia Orchestra and City of Birmingham Orchestra, and on the continent with the Maggio Musicale in Florence, the Hamburg Opera Orchestra, and the Berlin Radio Symphony. In Asia she has sung in a number of televised concerts with the NHK Symphony Orchestra in Tokyo.
Linda Hohenfeld's recent and upcoming engagements include performances with the Vienna Symphony Orchestra, the San Francisco Symphony Orchestra, and a performance at Carnegie Hall with David Randolph. She is also singing additional
performances with the Maggio Musicale and with the NHK Symphony Orchestra.
Ms. Hohenfeld's repertoire spans a diversity of styles and compositions, from Broadway and the works of contemporary composers to the more traditional symphonic literature. A champion of a wide variety of twentieth-century works, Linda Hohenfeld appeared at the request of composer William Schuman in a Lincoln Center Library concert honoring his work and music in 1 go, 1. Her discography includes Vaughan Williams's Symphonies Nos. 3 and 7 with the Philharmonia Orchestra of London, as well as a recording of Leonard Bernstein's Songfest with the Saint Louis Symphony Orchestra, all on RCA Red Seal. Earlier this year, she recorded Barber's Knoxville: Summer of 1915 as part of an American music project with the Nurnberg Symphony Orchestra in Germany for release on the Deutsche Schallplatten label.
Linda Hohenfeld has performed with many summer music festivals, including Aspen, Cabrillo, Marlboro, Copenhagen's Tivoli Festival, and the Frankfurt Feste in Germany. She made her debut with The Cleveland Orchestra during the 1990 Blossom Festival in a performance of Bernstein's Songfest. The following summer, she appeared in William Schuman's baseball cantata, Casey at the Bat, and, in 1992, sang in a Blossom Festival concert featuring selec?tions from several of Leonard Bernstein's Broadway musicals.
This evening's performance marks Ms. Hohenfeld's UMS debut.
I he Saint Louis Symphony 1 Orchestra is recognized internationally as an orchestra of the highest caliber, performing a broad musical repertoire with skill and spirit. Now entering its one-hundred-sixteenth season, the SLSO continues to break new ground, setting the course for American orchestras.
In September 1994 the Saint Louis Symphony Orchestra became the first major orchestra in the country to establish a formal "Community Partnership Program." Far reaching in its goals, the program directs the varied talents of individual musicians toward addressing educational and social needs in the community. Recognized as unique resources, the musicians are strategi?cally dispatched for activities such as teaching, mentoring, guest appearances, recitals and chamber music programs.
The Community Partnership Program grew out a successful Community Outreach Program, aimed at reaching new audiences through various special programs. The core of the outreach program continues to be IN UNISON?, a partnership between the orchestra, African-American churches and other organizations in Saint Louis.
Revitalization for the Future, the long-range plan introduced by the orchestra in November 1993, is a comprehensive program of artistic, educational and community initia?tives. The boldest step forward is the creation of the Saint Louis Symphony Community Music School, which opened in September 1994. The first of its kind, the Symphony Music School offers music education classes and performance opportunities to students of all ages and abilities, at six locations throughout the Saint Louis area.
The Saint Louis Symphony Orchestra continues to attract new listeners across
America through weekly broadcasts on National Public Radio and frequent tours of the Midwest and the East and West Coasts (including annual performances in Carnegie Hall). Tours to Europe in 1985 and 1994 and to the Far East in 1986, 1990, and 1995 under the direction of Leonard Slatkin have spread the reputation of the SLSO worldwide.
Recordings by the SLSO have been nom?inated for Grammy Awards every year since 1977, with a total of four Grammies and fifty nominations. The orchestra's contract with BMG ClassicsRCA Victor Red Seal calls for thirty-three releases over eight years, the most comprehensive agreement in the clas?sical recording industry. Upcoming releases on RCA include Mahler's Symphony No. 10, and a disc of music by Leroy Anderson.
One of the first orchestras in the country to welcome a composer-in-residence through the Meet the Composers program, the SLSO has been home to Pulitzer Prize-winner Joseph Schwantner (1982-1985), Grawemeyer Award-winner Joan Tower (1985-1988), Donald Erb (1988-1 gg 1), and jazz composer Donal Fox (iggi-1992). Claude Baker has served as composer-in-residence since the iggi-g2 season.
Beginning with the igg6-g7 season Dutch conductor Hans Vonk becomes the eleventh music director and conductor of the Saint Louis Symphony Orchestra. He succeeds Leonard Slatkin, who will leave the post and become the conductor laureate at that time.
The conducting staff also includes Associate Principal Conductor David Loebel, and Marin Alsop, who has been named to the orchestra's first Creative Conductor Chair beginning September 1 gg6.
This eveling's performance marks the Saint Louis Symphony Orchestra's third appearance under UMS auspices.
Pepper, Hamilton and scheetz
The St. Petersburg
Yuri Temirkanov, Conductor Pamela Frank, Violin
Friday Evening, January 26, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
Sergei Slonimsky
St. Petersburg's Visions
Max Bruch
Violin Concerto No. i in g minor, Op. 26
Adagio Finale
Pamela Frank, Violin Intermission Gustav Mahler
Symphony No. 1 in D Major, "Titan"
Langsam schleppend
Kraftig bewegt
Feierlich und gemessen, ohne zu schleppen
Sturmisch bewegt
Twenty-third Concert of the nyth Season
11 jth Annual Choral Union Series
Special thanks to Michael Staebler, Managing Partner, Pepper, Hamilton & Scheetzfor helping to make this evenings performance possible.
Thank you to Steven Moore Whiting, Assistant Professor of Musicology, speaker for this evenings Philips Educational Presentation.
The pre-concert carillon recital was performed by Lisa Passmore, a senior Pre-Med student majoring in Chemistry and Cellular Molecular Biology.
Exclusive tour management: ICM Artists, Ltd., New York, New York
Large print programs are available upon request from an usher.
St. Petersburg's Visions
(1995) dedicated to Yuri Temirkanov
Sergei Slonitnsky
Born August 12, 1932 in Leningrad
"there are some rather queer corners in Petersburg, life in those remote corners seems a world apart. . .that peculiar mixture of something that is purely fantastic, ardently idealistic and also, at the same time (alas) bleakly humdrum and ordinary. . .these remote corners are inhabited by some queer people -by dreamers. "
-Dostoyevski, White Knights
St. Petersburg's Visions was commissioned for this current United States tour o? the St. Petersburg Philharmonic Orchestra by Yuri Temirkanov, Music Director and Principal Conductor, and is dedicated to him.
Sergei Slonimsky, Professor at the St. Petersburg Conservatory, is the composer of ten symphonies; Symphony No. 10, "Circles of Inferno," based on Dante, had its premiere this year in St. Petersburg. He also composed the operas Virineya (1967), Master and Margarita (1972) which is based on the novel by Bulgakov, Mary Stuart (1980) with a libretto by Yakov Gordin based on the novel of Stephan Zweig, Hamlet (1990) based on the translation by Pasternak, and Ioann Grozny (Ivan the Terrible) (1994) with a libretto by Yakov Gordin based on the "History of the Russian State" by Karamzine: His other works include the ballet Ikarus, the Concerto-buffo for chamber orchestra; Anliphones for string quartet; twenty-four preludes and fugues for piano; and many other symphonic, chamber, instrumental and vocal pieces. Other compositions range from romances on the Akharnarova poems, "Mandelshram," "Brodski," and "Rein," to piano pieces for children, and music for film and theatre.
Violin Concerto No. i in g minor, Op. 26
Max Bruch
Born January 6, 1838 in Cologne, Germany
Died October 2, 1920 in Friedenau, near Berlin
Bruch's Concerto in g minor is the work of a young man of twenty-eight who already had several successful compositions to his credit, including an opera, Die Lorelei, performed in several German theatres. With his violin concerto, Bruch -who had recently been appointed as music director in the city of Coblenz -intended to confirm his position as a prominent composer of the Schumann-Mendelssohn school. While he was working on the concerto, he confided to his former teacher Ferdinand Hiller in a letter, "My Violin Concerto is progressing slowly -I do not feel sure of my feet in this terrain. Do you not think that it is in fact very auda?cious to write a Violin Concerto" Bruch finally sought the advice of Joseph Joachim, one of the greatest violinists of the day, who also helped Brahms and Dvorak with their concertos. The correspondence between Bruch and Joachim, which contains extensive musical notation, reveals how many details had to be changed before the concerto assumed its final form.
Bruch may have been a traditional com?poser, but he was not one to follow the conventions slavishly. The form of his first movement, which bears the title "Vorspiel" (Prelude), is much looser and more fantasy-like than the first movements of most concer?tos. It begins with a violin cadenza, followed by the main theme which, too, has a certain cadenza-like freedom to it, despite its strict rhythm marked by the timpani and the double bass. The lyrical second theme evolves into a section filled with scintillating passagework, followed by a dramatic section for orchestra alone. After this, the initial cadenza turns
into the second-movement "Adagio," warmly lyrical and exceptionally rich in melodic invention.
The theme of the third-movement "Finale" begins after an introduction of a few bars. It is a brilliant melody full of virtuosic double-stops and arpeggios, followed by a dramatic second theme. The movement follows the rules of sonata form, although the develop?ment is extremely brief. There is a substantial coda, however, bringing some harmonic surprises and previously unheard variations on the two diemes. The concerto ends in a faster tempo.
Bruch lived more than fifty years after completing his g-minor concerto. He wrote about one-hundred compositions, including the popular Scottish Fantasy (for violin and orchestra), the KolNidrei (for cello and orchestra) and two more violin concertos. Yet it is the present work that has kept his name firmly in the repertoire since the day of the premiere. The composer, who sold the rights to his work to the publisher for a one-time lump payment, no doubt regretted his naivete in later years.
Symphony No. i in D Major,
Gustav Mahler
Born July j, i860 in Kalischt, Bohemia j Died May 18, ipn in Vienna
In the four years that elapsed between the first sketches of Gustav Mahler's First Symphony and the completion of the score, Mahler changed his city of residence three times. In 1884, he was assistant conductor at the Kassel opera house; by 1888 -after brief stints in Prague and Leipzig -the composer, still only twenty-eight, had been appointed to his first important post as Director of the Royal Opera in Budapest. The First Symphony is a youthful work,
but many features of Mahler's mature style were already fully formed at this early stage. Other composers had written masterpieces in their twenties, but few had been so inde?pendent from their models as Mahler. As the composer himself once remarked, Beethoven had started out as a Mozartian composer and Wagner as a follower of Weber and Meyerbeer, but he, Mahler, "had been condemned by a cruel fate to being himself from the start."
To Mahler -as to Beethoven before him -the symphony was a form of drama. In later years, he was to speak about the uni?versality of the symphony and the necessity for it "to embrace everything." This heaven-storming attitude is already evident in the First Symphony, and it accounts in no small part for the difficulties encountered by Mahler during the work's genesis, which was by no means over at the Budapest premiere in 1889.
At the first performance, this work had five movements. It was given under the title "Symphonic Poem in two parts" -the first three movements comprising Part I and the last two forming Part II. When the work was performed again in 1893, Mahler called it 'Titan," after Jean Paul's novel of the same name. After 1896, however, this title was removed, and the second movement "Blumine" was eliminated.
The first movement was called, at the time when the movements still had titles, "Fruhling und kein Ende" (Spring Without End). We witness the gradual awakening of spring. We hear a single perfect fourth (Mahler called it a "sound of nature" in the score) over a sustained pedal; everything grows out of this one interval, like a tree from a small seed. Even the call of the cuckoo, evoked by the clarinet, is a perfect fourth, although this bird knows only thirds in reality. But the unifying factor of the movement (and, indeed, of the entire symphony) is the fourth, as we realize when the slow introduc-
tion gradually gives way into the movement's main section. The whole movement, in classical sonata form, is based on the second of the "Wayfarer" songs: "Ging heut morgens tibers Feld" (I walked this morning through the field) -an early example of the intertwining of song and symphony so frequent in Mahler's later work.
It is said that Mahler had to change the beginning of the second-movement handler (at one time called "Mil vollen Segeln" [Under Full Sail]), because it sounded too much like one of Bruckner's themes. As it is, the theme sounds distinctly Mahlerian, echoing the early song "Hansel und GreteF written around 1880. A simple tune, rather unassuming in itself, is played with great rhythmic energy, and is soon taken up by the full orchestra (with a large brass section comprising seven horns and four trumpets) with a tempo marking "Wild." The Trio, in the words of Michael Steinberg, "fascinatingly contrasts the simplicity of the rustic, super-Austrian material with the artfulness of its arrangement. It is an early instance of what [German philosopher and musician] Theodor W. Adorno perceived as the essence of Mahler, the turning of cliche into event."
The third movement, which should be preceded by a long pause, had been variously called "A la pompes funebres" (Funeral March), "Funeral March in Callot's Manner," and, perhaps most surprisingly, "Gestrandetl" (Stranded!). The immediate inspiration came from a then-popular woodcut by Moritz Schwind (who, as a young man, had been a close friend of Schubert) called the Huntsman's Funeral, in which the hunter is buried by the animals of the forest. The first audiences clearly didn't know what to make of this movement, in which they couldn't fail to recognize the popular "Frere Jacques" melody -transposed into a minor key. The "alienation" of this familiar tune results in a mixture of humor, tragedy, mystery and
irony for which there had hardly been a precedent in the history of music.
This grotesque funeral march evolves into an openly parodic section whose unabashedly "schmaltzy" themes, played by oboes and trumpets, are reminiscent of klezmer music (Eastern European Jewish instrumental folk music). As a total contrast, there suddenly appears another melody from the "Wayfarer" songs ("Auf der Strafie stand tin Lindenbaum"-By the road stands a linden tree), almost transfigured and painfully nostalgic, scored for muted strings plus two unmuted solo violins, accompanied by the harp. A more subdued recapitulation of the "Frere Jacques" tune and the klezmer material ends this unusual movement.
The finale, which follows the third move?ment without a pause, is the longest and most complex movement in the symphony. It represents a progression from tragedy to triumph like many earlier symphonic finales, but the contrasts between the various emo?tions are exceptionally polarized. The move?ment lacks tonal unity as it opens in f minor and closes in D Major; in the 1880's, this was quite a revolutionary way of handling tonality. The fabric of this movement includes a lyrical second theme that -as in several of Mahler's later symphonies -seems to introduce us to a completely different world; there are exuberant climaxes followed by relapse into despair, and numerous recurrences of mate?rials from the first movement. The work ends in a radiant D-Major coda proclaiming the final victory.
Bruch and Mahler notes by Peter Laki, program annotatorfor The Cleveland Orchestra
In April 1988 Yuri Temirkanov was named Music Director and Principal Conductor of the St. Petersburg (formerly Leningrad) Philharmonic Orchestra, succeed?ing Evgeny Mravinsky. Prior to his appointment with that ensemble, he was Artistic Director and Chief Conductor of the Kirov Opera.
In the United States, where he is one of the most well-known and highly regarded Russian conductors, Mr. Temirkanov led the Philadelphia Orchestra regularly between 1975 and 1980. In January 1986, he made an historic appearance with the New York Philharmonic as the first Soviet conductor to visit the United States following die renewal of the SovietAmerican Cultural Exchange Agreement, winning exceptional critical acclaim. He has since returned many times to conduct not only die New York Philharmonic and the Philadelphia Orchestra, but also the Boston Symphony, the Los Angeles Philharmonic and the San Francisco Symphony. His American tour with the Leningrad Philharmonic (as it was still known) in November 1990 marked the orchestra's return to the United States after more dian a decade.
In Europe, Maestro Temirkanov has conducted all of the leading orchestras including the Berlin Philharmonic, the Vienna Philharmonic, the Dresden Staatskapelle, l'Orchestre de Paris and the Royal Concert-gebouw Orchestra. In 1977 he made his
London debut with the Royal Philharmonic and starting with the 1979-1980 season became its Principal Guest Conductor. After eleven years in that position, he succeeded Andre Previn as Principal Conductor in September 1992.
In 1988 Maestro Temirkanov began a long-term exclusive relationship with BMG ClassicsRCA Victor Red Seal. His numer?ous releases include the complete Stravinsky ballets with the Royal Philharmonic Orchestra and works of Shostakovich, Prokofiev and Rachmaninoff with the St. Petersburg Philharmonic Orchestra. Among his most recent releases is a recording with the St. Petersburg Philharmonic of Prokofiev's score to Eisenstein's film Alexander Nevsky.
Maestro Temirkanov's forthcoming engagements include return visits to New York and Philadelphia, his debut tour of Australia with the Sydney and Melbourne symphony orchestras, and international tours with the St. Petersburg and Royal Philharmonic Orchestras.
This evening's performance marks Maestro Temirkanov's second appearance under UMS auspices.
L merican violinist
Pamela Frank has estab-
lished as outstanding
international reputation ?L across an unusually var-m ied range of performing
JL pBHi ,u livily. In addition to
her extensive schedule of engagements with prestigious orchestras throughout the world and her recitals on the leading concert stages, she is regularly sought after as a chamber music partner by today's most distinguished soloists and ensembles.
Ms. Frank's 1995-96 season includes appearances with the Atlanta Symphony, the
Boston Symphony, Washington's National Symphony, Miami's New World Symphony, the San Francisco Symphony and the Vancouver Symphony. She makes her first tour of Australia, performing with the orchestras of Brisbane, Hobart, Melbourne and Sydney, and twice travels to Japan for chamber, orchestral and recital engagements. She also joins the St. Petersburg Philharmonic Orchestra on this American tour. She will give several series of recitals with her father, pianist Claude Frank, highlighted by a tour of Italy and an appearance at New York's 92nd Street Y. Next month, she will be fea?tured on a "Live from Lincoln Center" telecast of Hausmusik with Emanuel Ax, Yo-Yo Ma and others from Alice Tully Hall. Due for release that month on Sony Classical is a recording by those artists of repertoire from the program, including Schubert's "Trout" Quintet. This summer she is scheduled to give the world premiere of Lament and Prayer by Aaron Jay Kernis with the Minnesota Orchestra.
Last season, Ms. Frank made her New York Philharmonic debut and appeared with many other leading ensembles, including the Philadelphia Orchestra, l'Orchestre de Paris, The Cleveland Orchestra, the Israel Philharmonic and, on a tour of Germany,
the Cincinnati Symphony. She also gave recitals in London, Paris, Amsterdam, Vienna and New York, where she made her Carnegie Hall debut. Among her chamber music projects were a series of duo recitals with Yo-Yo Ma and a tour with Mr. Ma, Emanuel Ax, Eugenia Zukerman and Paul Meyer in a program of works by Brahms and Schoenberg (to be repeated diis season in Paris).
In the recording studio, Pamela Frank has recorded the complete Beethoven sonata cycle for MusicMasters Classics, with Claude Frank at the piano. The first volume, featur?ing the Sonatas Nos. 1 and 9 (Kreuzter), has already been released to exceptional critical acclaim. For Sony Classical, she recorded the Chopin Piano Trio with Emanuel Ax and Yo-Yo Ma, and is featured on the soundtrack to the film Immortal Beloved.
Born in New York City, Pamela Frank is the daughter of noted pianists Claude Frank and Lillian Kallir: the three frequently play chamber music both at home and before the public. Ms. Frank began her violin studies at age five and after eleven years as a pupil of Shirley Givens continued her musical education with Szymon Goldberg and Jaime Laredo. In 985 she formally launched her career with the first of her four appearances with Alexander Schneider and the New York String Orchestra at Carnegie Hall. A recipient of the coveted Avery Fisher Career Grant in 1988, she graduated the following year from the Curtis Institute of Music in Philadelphia, where she now lives.
This evening's performance marks Ms. Frank's UMS debut.
T"" 'le St. Petersburg
1 Philharmonic Orchestra is Russia's oldest symphony orchestra. It was formed out of the nineteenth-century "Imperial Music flR. Choir" iii 1882 but initial?ly served the Court and aristocratic circles. As early as October 19, 1917 the ensemble was declared a state orchestra, giving its first public concert in Soviet Russia. A year later the orchestra was incorporated into the newly founded Petrograd Philharmonic Society, the first concert organization of the U.S.S.R. In iggi,just after its home city was renamed, the Orchestra changed its name from the Leningrad Philharmonic to the St. Petersburg Philharmonic. Today it is internationally recognized as one of the world's premier symphonic ensembles.
The Philharmonic's first principal con?ductors were Emil Cooper (1921-22) and Nikolai Malko (1926-29). During its earliest years, the orchestra was also conducted by Alexander Glazunov, Serge Koussevitsky, Gregor Fitelberg and Nikolai Tcherepnin, as well as abroad by such figures as Bruno Walter, Oscar Fried, Erich Kleiber, Otto Klemperer and Hans Knappertsbusch. In the 1930's, the orchestra was headed by Alexander Gauk and the Austrian conductor Fritz Stiedry.
For fifty years, from 1938 to 1988, Evgeny -Mravinsky was the orchestra's Music Director. During World War II, the orchestra continued to give concerts without interruption, even as Leningrad was being evacuated. After 1945, the orchestra under Mravinsky was active in introducing to Russia important foreign composers and conductors, including Leopold Stokowski, Charles Munch, Andre Cluytens, Igor Markevitch, Josef Krips,
Zoltan Kodaly and Benjamin Britten. In 1946 it undertook the first tour of the West by a Soviet orchestra, and since then has been acclaimed by the public and press alike in over twenty-five countries throughout Europe, North America and the Far East.
The St. Petersburg Philharmonic has played a major role in furthering the careers of Russian and Soviet composers. The orchestra premiered Shostakovich's First Symphony in 1926, bringing immediate international attention to the nineteen-year-old composer, whose close association with the orchestra -which went on to premiere seven of his subsequent symphonies -continued until his death in 1975.
In 1988 Yuri Temirkanov was appointed Music Director and Principal Conductor of the St. Petersburg Philharmonic with Mariss Jansons continuing as Associate Principal Conductor, a post he has held since 1985.
The St. Petersburg Philharmonic has established an important relationship with BMG ClassicsRCA Victor Red Seal, which has recently released Tchaikovsky's Symphonies Nos. 4, 5 and 6, conducted by Yuri Temirkanov, as part of a complete cycle, as well as Prokofiev's Lieutenant Kije Suite and Symphony No. 5, and Rachmaninoff s Symphony No. 2, Symphonic Dances and Rhapsody on a Theme ofPaganini (with Dmitri Alexeev). The orchestra and Mariss Jansons have recorded the complete Rachmaninoff Symphonies and Piano Concertos (with Mikhail Rudy) for EMI.
This evening's performance marks the St. Petersburg Philharmonic Orchestra's sixth appearance under UMS auspices (four appearances as the Ixnigrad Philharmonic Orchestra, one previous appearance as the St. Petersburg Philharmonic Orchestra).
St. Petersburg Philharmonic Orchestra
Yuri Temirkanov, Music Director
and Principal Conductor Mariss Jansons, Associate Principal
Violin I
Lev Klychkov, Concertmaster Alcksandr Zololaryov Ilya Voff Sergei Teterin Valentin Lukin Natalya Sokolova Konstantin Solovyov Aleksandr Rikhter Vadim Selitski Grigori Sedukh Olga Rybalchenko Vladimir Guenttaelt Natalya Kononova Renata Bakhrakh Tatyana Nakarova Liya Melik-Muradyan Dmitri Petrov Konstantin Rassokhin Georgi Djarachneli
Violin II
Mikhail Estrin Arkadi Malein Arkadi Naiman Boris Kuznetsov Lyudmila Odintsova Zhanna Proskurova Grigori Lutski Valentin Borisov Anatoli Babitski Vladimir Tcmirkanov Nikolai Tkachenko Tatyana Shmelyova Nikolai Dygodiuk Tamara Tomskaya Olga Kotlyarevskaya Yuri Ushchapovski Anna Streltsova
Andrei Dogadin Aleksei Lyudevig Yuri Dmitriev Mikhail Slobodyanyuk Vladimir Spasski Yuri Anikeev Visarion Solovyov Grigori Meerovich Dmitri Kossolapov ? Elena Panfilova Artour Kossinov Alcksandr Shclkornikov
Anatoli Nikitin Beinus Morozov Valcri Naidyonov Sergei Slovachevski Sergei Chernyadyev Lev Fishkov Yosif Levinzon Anatoli Zadkov German Novichikhin Aleksei Vasiliev Vasili Popov Yaroslav Cherenkov
Double Bass
German Lukyanin Aleksandr Chilo Rostislav Yakovlev Ernst'YolTe Oleg Kirillov Valeri Karapetyants Nikolai Chausov Aleksei Ivanov Nikolai Syrai
Valentin Zverev Marina Vorotsova Aleksandr Majorov Olga Viland Oleg Mikhailovski
Khaniafi Tchinakaev
Pyotr Fedkov
Ilya Ilin
Sergei Bliznotsov
Valeri Bczrutchenko Valentin Karlov Mikhail Kuniavski Andrei Kazakov Vladislav Verkovitch Igor Gurassimov
Oleg Talypin Sergei Bajenov Konstantin Tchevchuk Aleksei Siliutin
Andrei Glukhov Stanislav Tses Yuri Akimkin Anatoli Mussarov Igor Karzov Pavel Glukhov
Igor Charapov Mikhail Romanov Anatoli Slepanov Leonid Korkin
Masim Ignatiev Dmitri Zorkin Vitali Gorlitski Vladimir Lestov
Valentin Galuzin
Percussion Anatoli Ivanov Valeri Znamenski Konstantin Soloviev Ruben Ramazian Aleksandr Mikhailov
Anna Makarova Andrei Izmailov
Valerin Vichnevski
Sergei Tcherniadiev, Orchestra Manager Leonid Voronov, librarian Aleksandr Novikov, Technician Valentine Ustinov, Technician Yuri Kuznetsov, Technician
ICM Artists Touring Division Byron Gustafson,
Senior Vice President and Director Leonard Stein, General Manager Richmond Davis, Stage Manager Tania Jastrebov, Assistant Manager Lara Stokes, Interpreter
Co-sponsored by the University Musical Society and the Alumni Association of the University of Michigan
casino. Hosts for the journey will be UMS Executive Director Ken Fischer and his wife Penny, who along with Steve Grafton, Executive Director of the University of Michigan Alumni Association, have arranged for special musical events in several port cities, as well as informative, entertaining lectures and performances on board.
JULY 3 -14.199B
The voyagers will set sail on July 4 from London, then spend a day cruising the North Sea. The first port of call is historic Oslo, at the head of the breathtaking Oslofjord. The next two days will be spent in a serene and beautiful world, cruising
the scenic Kattegat Strait and the fabled Baltic Sea. On July 9, the group will .disembark for a day in Stockholm, the picturesque cobblestoned city built on 14 islands. the next day will find them in the modern landscape of helsinki, finland's pride, with its wonderful restaurants and craft shops. Then on to two days in St. Petersburg, the city of "white nights" dotted with majestic palaces. After, a restful day at sea, travelers will disembark on july 14 in enchanting copenhagen.
The Guthrie Theater
Joe Dowling, Artistic Director Ed Martenson, Executive Director
Saturday Evening, January 27, 1996 at 8:00
Sunday Afternoon, January 28, 1996 at 2:00
Power Center
Ann Arbor, Michigan
Impressions from The Trial by Franz Kafka adapted by Garland Wright
Twenty-fourth and Twenty-fifth performances of the 11 nth season
Stage Presence Series
The Company
J.C. Cutler Bob Davis Nathaniel Fuller June Gibbons Richard S. Iglewski Charles Janasz Isabell Monk Richard Ooms Stephen Pelinski Brenda Wehle Sally Wingert
There will be one intermission
Staging for Tour Set designed by
Costumes designed by Lighting designed by
Dramaturgy Vocal Coach Movement Coach Assistant Director Stage Manager Assistant Stage Manager Design Assistant Design Assistant
Garland Wright
Risa Brainin
John Arnone
Garland Wright
Susan Hilferty
Marcus Dilliard
Garland Wright
Michael Lupu
Mira K. Kehoe
Marcela Kingman Lorca
Dipankar Mukherjee
Jenny A. Batten
Chris A. Code
Devon Pinter (Costumes)
Natalie Nugent (Lighting)
This presentation of The Guthrie Theater on tour and this production is supported by AT&T.
Special support and assistance for this presentation of The Guthrie Theater provided by the National Endowment for the Arts, Arts Midwest and MidAmerica Arts Alliance.
These activities are made possible in part by a grant provided by the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature.
The Guthrie Theater is supported by the Lila Wallace-Reader's Digest Resident Theater Initiative.
Thank you to Joe Dowling, Artistic Director, The Guthrie Theater, speaker for Saturday evening's Philips Educational Presentation.
Following the performance, you are invited to attend a Philips Educational Panel Discussion moderated by Sheila Livingston, Education Coordinator of the Guthrie Theater featuring: Ingo Seidler, Professor of German, Department of Germanic Languages and Literature, University of Michigan; Fred Peters, Chair of Comparative Literature, Residential College, University of Michigan; Belinda Weslmaas Jones, Editor of the Guthrie Study Guide, The Guthrie Theater; and Members of the Company. Location: Power Center Stage (Saturday), Power Center Green Room (Sunday).
After Sunday afternoon's performance, you may also elect to watch the set changeover from k. to Old Times.
For an enhanced listening experience, infra-red audio headsets are available for rent at the concession bar.
Large print programs are available upon request from an usher.
Prolonged Into Infinity
"I took the manuscript of The Trial into my keeping in June 1920 and immediately put it in order. The manuscript has no tide; but Kafka always called it The Trial in conversa?tion. . . . Franz regarded the novel as unfinished. . . . But as the trial, according to the author's own statement made by word of mouth, was never to get as far as the highest Court, in a certain sense the novel could never be terminated that is to say, it could be prolonged into infinity." I
I Max Brod, 1925
(From the postscript to the first edition of The Trial Reprinted as Appendix III in the definitive edition of the novel. O1984 by Alfred A. Knopf. Inc.)
A Poetic Reality In Its Own Right
Right down to the end we never find out what Joseph K.'s guilt consisted in, we never come to know the form of law his life was to have fulfilled. Kafka only renders the atmosphere -the climate and aura -of a human life's involvement with the suprahuman, with supreme truth. . . .
The perceptions and insights Kafka means to give expression to here are not his exclusive property. They are the common heritage of the mysticism of all times and nations. . . . The dual nature of his reality is achieved with the help of a kind of pseudorealism that merits special atten?tion. His fiction shapes a poetic reality in its own right, rounded, hermetically sealed on all sides, self-justified and self-supporting.
Bruno Schultz, 1936
(From "Afterward to Kafka's The Trial' printed in Letters and Drawings of Bruno Schulz, edited by Jerzy Ficowski, O1988 by Harper and Row, Publishers, Inc.)
1883 July 3: Born in Prague, first of six children. His par?ents: Hermann Kafka (1852-1931) and Julie, nee Lowy, (1856-1934).
1889-1906 Attends Elementary Boys' School, followed by German Gymnasium (high school), in Prague. Bar mitzvah on June 13, 1896. Studies Chemistry (briefly) German Literature, Humanities, and eventually Law at German University, Prague.
1902 Meets Max Brod, who becomes a lifelong friend.
1903 Books are his favorite
companions (Spinoza, Darwin, Nietzsche, and much literary fic?tion) . Works on a novel. The Child and the City (lost).
1904-06 Writes "Description of a Struggle," the earliest o: his stories that has survived. Gets treatment for his frail health in sanatoriums. Receives Doctorate in Law.
1907 Spring: Writes "Wedding Preparations in the Country." October: Begins working for an Italian insurance company in Prague.
1908 March: First short sto?ries published in Hyperion, a German literary magazine. Takes job at the semi governmental Workers' Accident Insurance Institute in Prague.
1909 Two excerpts from "Description of a Struggle" printed in Hyperion. September: Vacation to northern Italy. "The Aeroplanes at Brescia" published in the Pragu German language newspaper Bohemia, December: Business tra-el affects his health.
1910 March: Five more pieces appear in Bohemia. April: Named legal counselor at the insuranc institute. Begins his diaries (kept more or less regularly until July 22, 1923). October-December: Travels to Paris and Berlin.
1911 JanuaryFebruary: Business trips to northern Bohemia. Summer: Travels with Max Brod to Lugano, Milan, Paris. Visits the Sanatorium Erlenbach near Zurich. Autumn: Begins working on AmeriJca.
1912 June-July: Meets publish?ers Ernst Rowohlt and Kurt Wolff. August 13: Meets Felice Bauer. Visits a sanatorium in the Harz Mountains. November-December: Writes The
Met amorphoaia.
1913 January-March: Meets Martin Buber, Franz Werfel, and other writers in Germany. May-June: The Stoker and "The Judgment" published. Keeps an intense correspondence with Felice. September-October: Attends International Congress on First Aid and Accident Prevention.
1914 June 1: Official engage?ment to Felice, followed by her visit to Prague. July 12: After a tormenting "trial" in a Berlin hotel room, engagement is broken. August: Begins work on The Trial. October: Leave of absence from the office to work on The Trial and In the Penal Colony.
1915 January: Renews contact with Felice. April: Travels to Hungary with his sister Bill. May 23-24: Meets Felice and her friend Grete Bloch in Switzerland. Spends part of the summer at a sanatorium. The Metamorphosis published.
1916 Suffers from frequent headaches and insomnia? April: Meets Austrian writer Robert Musil in Prague. July: With Felice in Marienbad. August: Compiles a list of the pros and cons of marriage. November: Writes stories (later collected in A Country Doctor) at his sis?ter Ottla's home in Prague's Castle district.
1917 Spring: Writes parts of "The Great Wall of China." July: Second engagement to Felice. September: Diagnosed with tuberculosis. November:
"A Report to an Academy" published. December: Second engagement to Felice is broken.
1918-20 Repeated bouts of illness temporarily stall his literary output. Reads Kierkegaard and Dostoevsky. Meets Julie Wohryzek in a sanatorium. Their marriage plans are abandoned later. Jn the Penal Colony and A Country Doctor published. Great love for and friendship with Milena Jesenska {married Polak), Czech translator of The Stoker and other writings.
The Purity and Beauty of a Failure
The world of offices and registries, of musty, shabby, dark rooms, is Kafka's world. . . . Those holders of power in Kafka's works . . . live in the attics as judges or in the castle as secretaries; no matter how highly placed they may be, diey are always fallen or falling men, although even the lowest and seediest of them, the doorkeepers and the decrepit officials, may abruptly and strikingly appear in the fullness of their power. . . . There is much to indicate that the world of the officials and the world of the fathers are the same to Kafka. The similarity does not redound to this world's credit; it consists of dullness, decay, and dirt. . . . Uncleanness is so much the attribute of officials that one could almost regard them as enormous parasites. ... In the same way the fathers in Kafka's strange families batten on their sons, lying on top of them like giants parasites. . . . The fathers punish but they are at the same time the accusers. . . . The courts, to be sure, have lawbooks at their disposal, but people are not allowed to see them. "It is characteristic of this legal system," conjectures K., "that one is sentenced not only in innocence but also in ignorance." Laws and definite norms remain unwritten. . . . [One] can transgress them without suspecting it and ... no matter how hard it may hit the unsuspecting, the transgression in the sense of the law is not accidental but fated, a destiny which appears here in all its ambiguity. . . .
Beauty appears in Kafka's world only in the most obscure places -among the accused persons, for exam?ple. . . . From The Trial it may be seen that these pro?ceedings usually are hopeless for those accused -hope?less even when they have hopes of being acquitted. It may be this hopelessness that brings out the beauty in them. . . .
Kafka's entire work constitutes a code of gestures which surely had no definite symbolic meaning for the author from the outset; rather, the author tried to derive such a meaning from them in ever-changing contexts and experimental groupings. The theater is the logical place for such groupings. . . . Each gesture is an event -one might even say, a drama -in itself. . . . [It] combines the utmost mysteriousness with the utmost simplicity. . . .
Kafka's parables . . . unfold the way a bud turns into a blossom. That is why their effect resembles poetry. . . .
One has to find one's way in them circumspectly, cau?tiously, and warily. . . .
To do justice to the figure of Kafka in its purity and its peculiar beauty one must never lose sight of one thing: it is the purity and beauty of a failure. The circumstances of this failure are manifold. . . . There is nothing more memorable than the fervor widi which Kafka emphasized his failure.
Walter Benjamin, 1934, 1938
(From Illuminations, edited and with an Introduction by Hannah Arendt, translated by Harry Zohn, O1968 by Harcourt, Brace, Inc.)
1921 Writes "Letter to His Father" and the series of He aphorisms. Spring: Serious recur?rence of tuberculosis. End of August: Back to work at the institute. October: Gives Milena his diaries.
1922 Undergoes special treat?ment at a sanatorium in the Tatra mountains. February: Begins work on The Castle writes "A Hunger Artist." Late summer: Writes "Investigation of a Dog."
1923 November-December: MoBtly confined to bed. Winter-Spring: Still bedridden; studies modern Hebrew. June: Sees Milena for the last time. July-August: Meets Dora DIamant at a vacation camp on the Baltic sea; later they live together. October-December: Writes "A Little Woman" and "The Burrow."
1924 March-April: Writes "Josephine the Singer, or the Mouse Folk." Tuberculosis affects his larynx.
Late May: No longer able to com?municate except by written i notes. June 3: Dies at a sanato-I rium in Kierling, near Vienna.
1925-27 June 11: Buried in the Jewish cemetery in Prague-Strasnice. The Trial, The Castle, and Amerika published posthumously by Max Brod.
I W. H. Aud?n, 1941 Had one to name the artist who comes nearest to bearing
the same kind of relation to our age that Dante, Shakespeare and Goethe bore to theirs, Kafka is the first one would think of. ... The predicament of his hero is the predicament of the contemporary man . . . [who] can never find it easy to have faith, but... if he loses it he is lost.
I Vladimir Nabokov, 1948 I The beauty of Kafka's . . . private nightmares is that their
central human characters belong to the same private fantastic world as the inhuman characters around them, but the central one tries to get out of that world, to cast off the mask, to transcend the cloak. . . . The limpidity of [Kafka's] style stresses the dark richness of his fantasy.
Samuel Beckett, 1956] The Kafka hero has a coherence of purpose. He's lost but
he's not spiritually precarious, he's not falling to bits. . . . You notice how Kafka's form is classic, it goes on like a steamroller -almost serene. It seems to be threatened the whole time -but the consternation is in the form.
I Joyce Carol Oatcs, 1983 I Though the words "Kafkan" and "Kafkaesque" invariably
point to paradox and human frustration, and suggest child?hood memories of terrifying disproportion, it is the case nonetheless that Franz Kafka's [works are] ... no more difficult than any riddle, or fairy tale, or Biblical parable. . . . His dark and prophetic art -Aesopian fables, religious allegories, inverted romances -limned a future in which bureaucratic hells and "final solutions" are not improbable: an increasingly dehumanized future of a sort Joseph K. has already endured when, after his struggle to acquit himself of guilt, he is executed and dies "like a dog." This is literature, admittedly, of symbolist extremes, in which the part must serve for the whole, the dreamor nightmare-image must suggest die totality of experience. In Kafka we never encounter persons, or personalities: we are always in the presence of souls -humanity peeled to its essence and denuded of the camouflage of external circumstances.
I Harold Bloom 1994 I From a purely literary perspective, this is the age of Kafka,
more even than the age of Freud. Freud, slyly following Shakespeare, gave us our map of the mind; Kafka intimated to us that we could not hope to use it to save ourselves, even from ourselves. . . . Knowing the deeper self rather than the fragmented psyche was Kafka's highly individual mode of negativity, appropriate to a writer whose mottoes included "Never again psychology!" and "Psychology is impatience."
The Guthrie Theater
Joe Dowling, Artistic Director Ed Martenson, Executive Director
Sunday Evening, January 28, at y:oo
Power Center
Ann Arbor, Michiga;
Old Times
by Harold Pinter
Twenty-sixth Performance of the njth Season
Stage Presence Series
Bob Davis Sally Wingert Brenda Wehle
A house on the English Seacoast. Autumn. Evening.
Act One
In the Living Room. Intermission
Act Two
Later that same evening. In the bedroom.
Directed and Designed by Costumes Designed by Lighting Designed by Associate Director Dramaturgy Vocal Coach Movement Coach Assistant Director Stage Manager Assistant Stage Mangager Design Assistant
Garland Wright
Devon Painter
Marcus Dilliard
Sari Ketter
Michael Lupu
Mira K. Kehoe
Marcela Kingman Lorca
Jesse Berger
Jenny A. Batten
Chris A. Code
Natalie Nugent (Lighting)
This presentation of The Gulhrie Theater on tour is sponsored by AT&T.
Special support and assistance for this presentation of the Guthrie Theater provided by the National Endowment for the Arts, Arts Midwest, and Mid-America Arts Alliance.
These activities are made possible in part by a grant provided by the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature.
The Guthrie Theater is supported by the Lila Wallace-Reader's Digest Resident Theater Initiative.
Following the performance, you are invited to attend a Philips Educational Panel Discussion on stage, moderated by Sheila Livingston, Education Coordinator of the Guthrie Theater featur?ing: Martin Walsh, Lecturer in Drama and Head of the Drama Institution, Residential College, University of Michigan; Enoch Brater, Professor of English Language and Literature, College of Literature, Science and the Arts and Professor of Theater, School of Music, University of Michigan; Belinda Westmaas Jones, Editor of Guthrie Study Guide, The Guthrie Theater; and Members of the Company.
For an enhanced listening experience, infra-red audio headsets are available for rent at the concession bar.
Large print programs are available upon request from an usher.
Tour Staff
Company Manager Technical Director Lighting Superxnsor Sound Board Operator Wardrobe Master Properties Wigs
Stage Hand Run Crew
Leigh Resnick Sheila Livingston Michael Klaers Lawrence Chapin Owen Romo Galway McCullough April Zielsdorf Tracey DeBenedictis Rick Gentry Jerrell McClatchey Eileen Hagebusch Timothy Lee Penny Meyer Owen Romo
The Guthrie Theater Staff
Communications Director Education Coordinator Finance Director Development Director Acting Promotion Manager Dramaturg
Public Relations Director Technical Director Lighting Supervisor Costume Director Sound Supervisor Property Master Study Guide Editor
Lendre Kearns Sheila Livingston Richard Scott Drew Stewart Peg Guilfoyle Michael Lupu Amy Forton Ray Forton Matthew Reinert Maribeth Hite Steve Bennett Mark Hegnauer Belinda Westmaas Jones
The play is set in a converted farmhouse in the English countryside. Three figures are on stage from the start. Deeley and Kate, a married couple, talk about Anna, Kate's old roommate. Apparently the two women haven't seen each other for twenty years. Deeley and Kate don't acknowledge the third person's presence until Anna turns around, makes herself "visible" to them, and starts speaking.
Anna recalls the good old times she and Kate spent together as young women in London: working, going to concerts, lunching in the parks, frequenting cafes where artists and writers gathered. Kate and Deeley join in and memories flow as they have coffee and drinks. They take turns in singing favorite songs. Past and present overlap, mix and clash; temporal frames appear increas?ingly fluid. The comfortable familiarity of their relation?ships becomes fraught with tensions and ambiguities. Just before the act ends Kate retires to take a bath.
The second act opens with Deeley and Anna waiting for Kate to return. He describes the various arrange?ments of the beds. The conversation builds in intensity as Deeley insists on having met Anna in a pub twenty years earlier. She doesn't seem to share diis remem?brance. They change the focus on Kate; both comment on how long a time she likes to spend in the bath.
When Kate reappears from the bathroom, Deeley and Anna are absorbed by a singing "duel" as they quote phrases from a popular tune. Who may claim priority for Kate's affections The conflict reaches its highest dramatic point, but no answer emerges before the play comes to an uneasy and equivocal ending.
kjuppose someone were to ask:
"Is it really right for us to rely on the evidence of our memory (or our senses) as we do"
But when does one say of something that is certain
For there can be dispute whether something is certain; I mean, when is something objectively certain.
Ludwig Wittgenstein; 1951
Harold Pinter
A Selected Chronolgy
1930 Born October 10 in Hackney,
England to Hyman (ladies1 tailor) and Frances Pinter.
1939 Evacuated to the country at the beginning of World War II.
1942-44 Attends Hackney Downs Grammar School.
1948 Briefly studies at the Royal Academy of Dramatic Art.
1949 Discovers Samuel Beckett's writing.
1951 First professional stage work, a one-year tour of Ireland.
1953 Spends a season at the King's Theatre, Hammersmith.
1954-57 Adopts stage name of
David Baron and performs in provincial theaters.
1957 The Room.
1958 The Birthday Party.
1959 A Slight Ache (radio play).
1960 The Dumbwaiter; The Caretaker; The Dwarfs (radio play).
1963 The Servant, a film adaptation; The Lover (television and stage productions).
1965 The Homecoming.
1968 Landscape.
1969 Silence.
1971 Old Times.
1975 No Man's Land.
1978 Betrayal.
1979 Film adaptation of The French Lieutenant's Woman.
1982 The Hothouse; A Kind of Alaska.
1988 Mountain Language.
1990 Film adaptation of TinHandmaid's Tale.
1991 Party Time.
1993 Moonlight.
(All titles are plays unless otherwise indicated)
Writing for the Theater
by Harold Pinter
There are at least twenty-four possible aspects of any single statement, depending on where you're standing at the time or on what the weather's like. A categorical state?ment, I find, will never stay where it is and be finite. It will immediately be subject to modification by the other twenty-three possibilities of it. No statement I make, therefore, should be interpreted as final and definitive, ...
I suggest there can be no hard distinction: between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false. ...
Apart from any other consideration, we are faced with the immense difficulty, if not the impossibility, of verifying the past. I
don t mean merely years ago, but yester?day, this morning. What took place,
what was the nature of what took place, what happened ...
tVe will all interpret a common experience quite differently, though we prefer to subscribe to the view that there's a shared
common ground, a known ground.
I think there's a shared common ground all
right, but that it's more like a quicksand. ...
My characters tell me so much and no more, with reference to their experience, their aspirations, their motives, their history. Between my lack of biographical data about them and the ambiguity of what they say lies a territory which is not only worthy of explo?ration but which it is compulsory to explore.
We have heard many times that tired, grimy phrase: "Failure of communication'... and this phrase has been fixed to my work quite consistently. I believe the contrary. I think that we communicate only too well, in
our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rear guard attempts to keep ourselves to ourselves. Communication is too alarming. To enter into someone else's life is too frightening. To disclose to others the poverty within us is too fearsome a possibility.
(From Writing for the Theater, a speech given at the National Student Drama Festival, Bristol, England, 1962. Printed as "Introduction" to Complete Works: One. Grove Press, Inc., New York, 1976)
The Pain Worth Having
by Harold Pinter
I have a particular relationship with the words I put down on paper and the charac?ters which emerge from them which no one else can share with me. And perhaps that's why I remain bewildered by praise and really quite indifferent to insult. Praise and insult refer to someone called Pinter. I don't know the man they're talking about. I know the plays, but in a totally different way, in a quite private way. ...
If there is, as I believe, a necessary, an obligatory shape which a play demands of its writer, then I have never been able to achieve it myself. I have always finished the last draft of a play with a mixture of feelings: relief, disbelief, exhilaration, and a certainty that if I could only wring the play's neck once more it might yield once more to me, that I could get it better, that I could get the better of it, perhaps. But that's impossible. You create the word and in a certain way the word, in finding its own life, stares you out, is obdurate, and more often than not defeats you. You create the characters and they prove to be very tough. They observe you, their writer, warily. It may sound absurd, but I believe I am speaking the truth when I say that I have suffered two kinds of
pain through my characters. I have witnessed their pain when I am in the act of distorting them, of falsifying them, and I have witnessed their contempt. I have suffered pain when I have been unable to get to the quick of them, when they wilfully elude me, when they withdraw into the shadows. And there's a third and rarer pain. That is when the right word, or the right act jolts them or stills them into their proper life. When that happens the pain is worth having. . . .
I am aware, sometimes, of an insistence in my mind. Images, characters, insisting upon being written. You can pour a drink, make a telephone call or run round the park, and sometimes succeed in suffocating them. You know they're going to make your life hell. But at other times they're unavoid?able and you're compelled to try to do them some justice. And while it may be hell, it's certainly for me the best kind of hell to be in.
(from the "Introduction" to Plays: Four. Faber and Faber, Ltd., London, 1993. Originally a speech made by Pinter in Hamburg, West Germany, on being awarded the 1970 German Shakespeare Prize.
Pinter not only writes dialogue that pre?sents both conscious and unconscious thoughts behind the words but he is also adept at keeping several flows of conscious?ness alive in a single conversation and mak?ing them apparent to the audience. ... Words can send different minds to different destinations in place and, very important, in time. Pinter is continually concerned with this, and much of the life of his dialogue derives from the subtle indications through trivial matters often of such divergencies. ... Pinter's originality is to be found in his style, and the aim of his style is to reveal the vary?ing consciousness of his characters; to understand all he writes and assess his achievement it is necessary to look through
the web of conversation and gesture to notice the other slowly moving patterns underneath. Even the interest of a play's action is dependent on the half-hidden nature of the characters' moment-by-moment involvement. ... In all the plays, any slight change of situation serves to effect a change in the audience's awareness, to make half-perceived revelations click into place. Pinter's dialogue is contrived, so that, when a radically new situation is at last pre?sented, the audience has already sensed the subtle and slow-developing movements which make it inevitable.
John Russell Brown 1965
Like Chekhov, ... the writing has the for?mal quality of music. ... Pinter drains every phrase of denotative association and uses it as pure thematic material, meaningless until he has given it meaning. ... [Each] state?ment is forcefully announced like the entry of a new subject in a sonata movement, sub?sequently undergoing development and combination with other themes. Each pause, each inflection is contained in the gesture of language, and the aesthetic effect is close to that of tautly controlled and con?tinuously evolving counterpoint.
Irving Wardle 1960
The Guthrie Theater
I he flagship theater of the I American regional theater movement, the founding of The Guthrie Theater in Minneapolis, Minnesota, in 1963 spurred the development of not-for-profit theaters in many cities throughout the United States. Since its inception, the theater 5 ? has presented more than 7,000 performances of over 200 hundred productions to a collec?tive audience of more than 8.5 million patrons. The Guthrie's artistic mission is centered on the presentation of world literature of timeless themes. From its premiere produc?tion of a modern-dress Hamlet directed by the theater's founder Sir Tyrone Guthrie, its productions have garnered national and international attention for the quality of act?ing, innovative interpretations and superb production values.
For its home season, the Guthrie gener?ally performs in rotating repertory, with as many as four productions presented simulta?neously. The theater's acting company works together throughout the season, rather than the per-play contracts most typical for theaters today. The ensemble has been working together for many years.
The Guthrie has been lead by artistic director Garland Wright since 1987; on December 1, 1995, Joe Dowling became the Guthrie's seventh artistic director.
Joe Dowling (Artistic Director) is widely known for his association with the Abbey Theater, Ireland's National Theatre. While still a student at University College in Dublin he became a member of the Abbey's acting company where he played many lead?ing roles. In 1970 he founded The Young Abbey, Ireland's first theatre-in-education group. In 1973 he became artistic director of the Peacock Theatre, the Abbey's second stage, where he began his directing career. In 1976, he was appointed artistic director of the national touring company, the Irish Theatre Company. In 1978 at the age of twenty-nine, he became the youngest ever artistic director of the Abbey Theatre. His tenure is particularly remembered for the encouragement and development of new plays and young playwrights. After leaving the Abbey in 1985, Mr. Dowling became managing and artistic director of Dublin's oldest commercial theater, The Gaiety. While there he founded and directed The Gaiety School of Acting, now widely regarded as Ireland's premier drama school. Since 1990 he has directed extensively in North America including The Price, She Sloops to Conquer and Juno and the Paycock (which earned a Helen Hayes Award nomination) at Arena Stage, The School for Scandal, Julius Caesar and Macbeth at The Shakespeare Theatre, Othello with Raul Julia and Christopher Walken at the New York Shakespeare Festival, A Midsummer Night's Dream (presented in Ann Arbor in 1993) at The Acting Company, A Touch of the Poet at American Repertory Theatre, Philadelphia, Here I Come! at the Roundabout Theatre, A Midsummer Night's Dream and Uncle Vanya at the Stratford Festival in Ontario, The Plough and the Stars and The School for Scandal at The Banff Centre and Our Country's Good, and Observe the Sons of Ulster Marching Toward the Somme at Centaur Theatre in Montreal.
Garland Wright (Director, Kand Old Times; Set Designer, Xand Old Times:, Lighting Designer, K) has long been respected as one of the leading directors of the American theater. His professional career began in 1970 at the American Shakespeare Theater. Since then, his productions have been seen in theaters across America. He has received numerous awards including two Obie Awards and numerous Drama Desk and Outer Critics Circle Citations. He began his long association with the Guthrie as a guest
director in 1980. Later, he served as associ?ate artistic director under Liviu Ciulei. In 1986, he was appointed Artistic Director and served until December 1995. He has direct?ed more than thirty productions for the Guthrie. He is co-chair of the newly-found?ed director's program of Thejuilliard School in New York.
These performances mark The Guihrie Theater's l
UMS debut.
Arts Midwest
A number of our patrons at Saturday night's performance have made a special gift to Arts Midwest in recognition of its support of the visual and performing arts not only in Michigan but throughout the entire Midwest.
The University Musical Society is grateful to Arts Midwest for its support of many of our presentations, including this weekend's Guthrie performances, this spring's appearances of the Mark Morris Dance Group and the Alvin Ailey American Dance Theater, and last year's Cleveland Orchestra Weekend, Martha Graham Centenary Festival, and Uptown String Quartet Residency. Arts Midwest has also supported two Minority Arts Administration Fellows during their four-month residencies with UMS.
Arts Midwest is the regional arts organization providing funding, training, and publica?tions to individuals and organizations in Michigan, Illinois, Indiana, Iowa, Minnesota, Nort Dakota, Ohio, South Dakota, and Wisconsin. Based in Minneapolis, Arts Midwest enables individuals and families throughout America's heartland to experience and enjoy the art and culture of our region, nation, and world.
Arts Midwest is one of six regional arts organizations in the United States, each serving a specific geographic area with programs and services that bring the arts to wider audiences. Since its inception in 1985, Arts Midwest has distributed almost $7 million to artists and arts organizations in the Midwest, including close to $800,000 to Michigan.
If you would like more information or would like to contribute to
Aits Midwest, please write to Arts Midwest, Suite 310, 528 Hennepin Ave.,
Minneapolis, MN 55403 or call 612341-0755 or email
Youth Program
Thousands of school children annually attend UMS concerts as part of the UMS Youth Program, which began in the 19891990 season with special one-hour performances for local fourth graders of Puccini's La Bohime by the New York City Opera National Company.
Now in its seventh year under the Education and Audience Development Department, the UMS Youth Program continues to expand, with performances by the Alvin Alley American Dance Theater for middle and high school students, two opera performances for fourth graders by the New York City Opera National Company, a performance by Wynton Marsalis and the Lincoln Center Jazz Orchestra Octet, in-school workshops with a variety of other artists, as well as discounted tickets to every concert in the UMS season.
As part of its Ann Arbor residency, the Alvin Ailey American Dance Theater will present a special youth program to middle and high school students, and a family performance, both on March 19, 1996.
On Friday February 24, 1996, 2700 fourth-graders will isit the Power Center for abbreviated one-hour performances of Verdi's La Traviata. These performances allow children to experience
opera that is fully-staged and fully-costumed with the same orchestra and singers that appear in the full-length performances.
On January 31, 1996, Wynton Marsalis and die Lincoln Center Jazz Orchestra Octet will perform a special youth performance at the Michigan Theater.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting die artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call the Education and Audience Development Director at 313.764.61 79.
I Volunteers & Interns
Volunteers are always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educational materials for teachers, greeting and escorting students to seats at performances, and serving as good-will representatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 9366837 or pick up a volunteer applica?tion form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, promotion, and production. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in a UMS Marketing Internship should call (313) 764-6199, and those interested in a UMS Production Internship should call (313) 747-1173 for more information.
College Work-Study
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538 or 764-6199.
UMS Ushers
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85$ of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
For more information about joining the UMS usher corps, call 313.913.9696
Dining Experiences To Savor: The Second Annual "Delicious Experiences"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds benefiting UMS programs, to continue the fabulous music, dance, drama, and educational programs that add so much to the life of our community. Wonderful friends and supporters of the University Musical Society are offering unique donations by hosting a delectable variety of dining events, including elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. Treat Yourself! Give the gift of tickets, purchase an enure event, or come alone meet new people and join in the fun while supporting UMS! Although some Delicious Experiences are sold out {A Valentine Brunch, Burmese Feast and "A Taste of Spring" Garden Dinner), space is still available for Dinner at Cousin's Heritage Inn (Jan 13), Mardi Gras Madness (Feb 24), An Elegant Dinner for Eight (Mar 2), Great Lakes Dinner (Mar 3), Great Wines and Many Courses (Apr 5), and Lazy Day Sunday Brunch (Apr 7). For the most delicious experiences of your life, call us at 313.936.6837.
UMS Card
Series ticket subscribers andor UMS Members at the $100 level and above, receive the UMSCard. The UMSCard is your ticket to savings all season lor discounts on purchases. Participants for the 10,9519,96 season include the following fine stores and restaurants: Amadeus Cafe Cafe Marie Candy Dancer Kerrytown Bistro Maude's SKR Classical The Earle
The UMS Gift Certificate
What could be easier than a University Musical Society gift certificate The perfect gift for every occasion worth celebrating. Give the experience of a lifetime--a live performance-wrapped and delivered with your personal message.
Available in any amount, just visit or call the UMS box office in Burton Tower, 313.764.2538.
with the University Musical Society
Five years ago, UMS began publishing expanded program books that included advertising and detailed information about UMS programs and services. As a result, advertising revenue now pays for all printing and design costs.
UMS advertisers have written to tell us how much they appreciate advertising in the UMS pro?gram books to reach you, our world-class audience. We hope that you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general information that illuminate each UMS presentation. For information about how your business can become a UMS advertiser, call (313) 747-4020.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, religious congregation or conference participants, family or guests, by calling
Start by saving big! When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 15 to 25 off the price of every ticket, along with 1-2 complimentary tickets to thank you for bringing your group to a UMS event:
20 or more Adults earn a 15 discount, and
1 complimentary ticket;
47 or more Adults earn a 20 discount, and
2 complimentary tickets;
10 or more Students earn a 20 discount, and 1 complimentary ticket.
io or more Senior Citizens earn a 20 discount, and 1 complimentary ticket.
For selected events, earn a 25 discount and 1 complimentary ticket.
Next, sit back and relax. Let the UMS Group Sales Coordinator provide you with complimentary promotional materials for the event, FREE bus park?ing, reserved block seating in the best seats available, and assistance with dining arrangements at a facility that meets your group's culinary criteria.
UMS provides all the ingredients for a success?ful event. All you need to supply are the partici?pants! Put UMS Group Sales to work for you by call?ing 313.763.3100.
Advisory Committee of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society. It's role is a major one not only in providing the volun?teer corps to support the Society but also as a fund-raising component as well. The Advisory Committee is a 55-member organization which raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, gala dinners and dances, season opening and preand post-concert events. The Advisory Committee has pledged to donate $110,000 this current season. In addition to fund raising, this hard-working group generously donates valuable and innumerable hours in assisting with the educational programs of UMS and the behind-the-scenes tasks associated with every event UMS presents.
If you would like to become involved with this dynamic group, please give us at call at 313.936.6837 for information.
Thank You!
Great performances--the best in music, theater and dance--are present?ed by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current contributors as of December 1, 1995. If there has been an error or omission, we sincerely apologize and would appreciate a call to correct this at your earliest con?venience. (313.747.1178).
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society intheir estate planning. We are grateful for this important support to continue the great traditions of the Society in the future.
Mr. Neil P. Anderson
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
The Graham H. Conger Estate
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Marilyn Jeffs
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
The Estate of Marie Schlesinger
Dr. Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Bravo Society Members
Mr. Ralph Conger F. Bruce Kulp
Mr. and Mrs. William B. Palmer Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ronald and Eileen Weiser and other anonymous donors
Conlin-Faber Travel Great Lakes Bancorp The Hertz Corporation JPEinc.The Paideia Foundation Mainstreet Ventures, Inc. McKinley Associates, Inc. Philips Display Components Company Regency Travel, Inc. Society Bank Michigan The Edward Surovell Co.Reakors TriMas Corporation Warner-Lam bertParke-Davis Research Division
Arts Midwest
Detroit Edison Foundation Ford Motor Company Fund Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
Concert Masters
Herb and Carol Amster Maurice and Linda Binkow Carl and Isabelle Brauer Dr. James P. and Betty Byrne David and-Pat Clyde Margaret and Douglas Crary Sun-Chien and Betty Hsiao Dr. and Mrs. James Irwin Mr. David G. and Mrs. Tina M. Loesel Maya Savarino and Raymond Tanter Mrs. M. Titiev Dr. and Mrs. John F. Ullrich Paul and Elizabeth Yhouse and other anonymous donors
The Anderson Associates Brauer Investment Company Cafe Marie Curtin and Alf
Lnvironmental Research Institute
of Michigan
Ford Motor Credit Company Thomas B. McMullen Co., Inc. NSK Corporation O'Neal Construction Pepper, Hamilton & Scheetz Wolverine Temporaries, Inc.
Foundations Agencies
Chamber Music America
The Benard L. Maas Foundation
Lila Wallace-Readers Digest Fund
Bradford and Lydia Bates Kathleen G. Charla Katharine and Jon Cosovich Ronnie and Sheila Cresswell Gregg Alf and Joseph Curtin Mr. and Mrs. Thomas C. Evans Ken, Penny and Matt Fischer Charles and Mary Fisher Mr. Edward P. Frohlich Sue and Carl Gingles Ruth B. and Edward M. Gramlich Keki and Alice Irani Robert and Gloria Kerry Judylhe and Roger Maugh Paul and Ruth McCracken Dr. and Mrs. Joe D. Morris John M. Paulson John W. and Dorothy F. Reed Prudence and Amnon Rosenthal John Wagner
Mr. and Mrs. Conrad Walburger Elise and Jerry Weisbach Marina and Robert Whitman and several anonymous donors
Dahlmann Properties Gelman Sciences, Inc. Huron Valley Travel, Inc. Masco Corporation
Dr. and Mrs. Gerald Abrarns Professor and Mrs. Gardner Ackley Jerry and Barbara Albrecht Dr. and Mrs. Robert G. Aldrich Mr. and Mrs. Max K. Aupperle Robert and Martha Ause John and Betty Barfield Howard and Margaret Bond Tom and Carmel Borders Jim Botsford and
Janice Stevens Botsford Drs. Barbara Everitt and John H. Bryant Mr. and Mrs. Richard J. Burstein Jean M. and Kenneth L. Casey Mr. and Mrs. John Alden Clark Leon and Heidi Cohan Maurice Cohen
Roland J. Cole and Elsa Kircher Cole Pedro and Carol Cuatrecasas Robert and Janice DiRomualdo Jack and Alice Dobson Martin and Rosalie Edwards Dr. Stewart Epstein Richard and Marie Flanagan Robben and Sally Fleming John and Esther Floyd Sara and Michael Frank udy and Richard Fry Lourdes and Otto Gago William and Ruth Gilkey Drs. Sid Gilman and Carol G. Barbour Vivian Sosna Gottlieb and
Norm Gottlieb
Mr. and Mrs. Robert C. Graham Linda and Richard Greene [ester Hairston Harold and Anne Haugh Debbie and Norman Herbert Janet Bowe Hoeschler Robert M. and Joan F. Howe Stuart and Maureen Isaac Chuck and Heidi Jacobus Mercy and Stephen Kasle Thomas and Shirley Kauper Bud and Justine Kulka David Lebenbom Carolyn and Paul Lichter Patrick B. and Kathy Long Joseph McCune and Georgiana Sanders Rebecca McGowan and
Michael B. Staebler H. Dean and Dolores H. Millard Dr. and Mrs. Andrew and
Candice Mitchell Ginny and Cruse Moss George and Barbara Mrkonic
William A. Newman Bill and Marguerite Oliver Mark and Susan Orringer Dory and John Paul Maxine and Wilbur K. Pierpont Christine Price Tom and Mary Princing Bonnie andjim Reece Elisabeth J. Rees Mr. and Mrs. Raymond Reilly Glenda Renwick Katherine and William Ribbens Mr. and Mrs. Charles H. Rubin Judith Dow Rumelhart Richard and Norma Sarns Genie and Reid Sherard Victor and Marlene Stoefller Dr. and Mrs. E. Thurston Thieme Jerrold G. Utsler Mary and Ron Vanden Belt Dr. and Mrs. Francis V. Viola III John and Maureen Voorhees Martha Wallace and Dennis White Dr. and Mrs. Andrew S. Watson Mr. and Mrs. Robert O. Weisman Roy and JoAn Wetzel Len and Maggie Wolin Nancy and Martin Zimmerman and several anonymous donors
American Title Company
of Washtenaw
The Barfield CompanyBartech Borders Books and Music Comerica Bank Cred i tanstal t-Ban kvere i n Kitch, Drutchas, Wagner, & Kenney, P.C. Matthew C. Hoffmann Jewelry Design NBD Ann Arbor NA Pastabilities Scientific Brake and
Equipment Company Shar Music Company
Foundations Agencies
Chrysler Corporation Fund The Mosaic Foundation (of Rita and Peter Heydon)
Bernard and Raquel Agranoff M. Bernard Aidinoff Catherine S. Arcure Mr. and Mrs. Esscl Bailey Jim and Lisa Baker
Emily W. Bandera, M.D.
Paulett and Peter Banks
M. A. Baranowski
Mrs. Martha K. Beard
Ralph P. Beebe
Mrs. L. P. Benua
Dr. and Mrs. Raymond Bernreuter
Mr. and Mrs. Philip C. Berry
Robert Hunt Berry
Suzanne A. and Frederick J. Beutler
Joan Binkow
Ronald and Mimi Bogdasarian
Charles and Linda Borgsdorf
Mr. and Mrs. Robert S. Bradley
Allen and Veronica Britton
David and Sharon Brooks
Jeannine and Robert Buchanan
Lawrence and Valerie Bullen
LetitiaJ. Byrd
Jean W. Campbell
Bruce and Jean Carlson
Edwin F. Carlson
Mrs. Raymond S. Chase
Pat and George Chatas
Jim and Connie Cook
Arnold and Susan Coran
H. Richard Crane
Kenneth and Judith DeWoskin
Molly and Bill Dobson
Jim and Patsy Donahey
Jan and Gil Dorer
Claudine Farrand and Daniel Moerman
Dr. and Mrs. William L. Fox
Beverley and Gerson Geltner
Margaret G. Gilbert
Grace M. Girvan
Paul and Anne Glendon
Dr. and Mrs. William Grade
Seymour D. Greenstone
John R. and Helen K. Griffith
Mr. and Mrs. Robert Grijalva
Leslie and Mary Ellen Guinn
Mr. and Mrs. Elmer F. Hamel
Walter and Dianne Harrison
Harlan and Anne Hatcher
Fred and Joyce Hershenson
Bertram Herzog
Mrs. W. A. Hiltner
Julian and Diane Hoff
Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Che C. Huang and
Teresa Dar-Kuan L. Huang Patricia and John Huntington Gretchen and John Jackson Robert L. and Beatrice H. Kahn Wilhelm and Sigrun Kast Jim and Carolyn Knakc Barbara and Charles Krause Helen and Arnold Kuethe
Barbara and Michael Kusisto Suzanne and Lee E. Landes Mr. and Mrs. David Larrouy Mr. Richard G. LeFauve and
Mary F. Rabaut-LeFauve Leo A. Legatski
Mr. and Mrs. Fernando S. Leon Dean S. Louis, M.D. Mr. and Mrs. Carl J. Lutkehaus Brigitte and Paul Maassen John and Cheryl MacKrell Peggy and Chuck Maidand Mr. and Mrs. Damon L. Mark Marilyn Mason and William Steinhoff Kenneth and Martha McClatchey John F. McCuen
Kevin McDonagh and Leslie Crofford Charlotte McGeoch Robert and Ann Meredith Barry Miller and Gloria Garcia Ronald Miller
Grant Moore and Douglas Weaver Mr. Erivan R. Morales and
Mr. Seigo Nakao
M. Haskell and Jan Barney Newman Len and Nancy Niehoff Karen Koykka O'Neal and Joe O'Neal Randolf Paschke Mr. and Mrs. William J. Pierce Eleanor and Peter Pollack Mrs. Gardner C. Quarton Stephen and Agnes Reading Mr. Donald H. Regan and Ms.
Elizabeth Axelson Dr. and Mrs. Rudolph E. Reichert Maria and Rusty Restuccia Jack and Margaret Ricketts Mrs. Bernard J. Rowan Peter Schaberg and Norma Amrhein Mrs. Richard C. Schneider Rosalie and David Schottenfeld Professor Thomas J. and
Ann Sneed Schriber George and Mary Sexton Julianne and Michael Shea Constance Sherman Dr. and Ms. Howard and Aliza Shevrin Mr. and Mrs. George Shirley Edward and Marilyn Sichler George and Helen Siedel Lloyd and Ted St. Antoine Dr. and Mrs. Jeoffrey K. Stross Nicholas Sudia and Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter Mr. and Mrs. Terril O. Tompkins Kathleen Treciak-Hill Herbert and Anne Upton -Joyce A. Urba and David J. Kinsella Charlotte Van Curler Don and Carol Van Curler Bruce and Raven Wallace Karl and Karen Weick
Angela and Lyndon Welch Marcy and Scott Westerman Brymer and Ruth Williams Frank E. Wolk
Walter P. and Elizabeth B. Work, Jr. and several anonymous donors
Ann Arbor Stage Employees, Local 395 Michigan National Bank Sarns, 3M Health Care
Foundations Agencies
The Power Foundation Shiffman Foundation Trust
Jim and Barbara Adams
Dr. and Mrs. David G. Anderson
Hugh and Margaret Anderson
Howard Ando and Jane Wilkinson
David and Katie Andrea
Tim Andrescn
Harlenc and Henry Appelman
Mr. and Mrs. Arthur J. Ashe
Eric M. and Nancy Aupperlc
Erik W. and Linda Lcc Austin
Sharon and Charles Babcock
Robert L. Baird
Cyril and Anne Barnes
Gail Davis Barnes
Dr. and Mrs. Mason Barr.Jr.
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman
Ncal Bedford and Gerlinda Melchiori
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
Mr. and Mrs. S. E. Berki
Maureen Foley and John Blankley
Donald and Roberta Blitz
Roger and Polly Bookwalter
Robert and Sharon Bordeau
Laurence Boxer, M.D.; Grace J. Boxer, M.D.
Dean Paul C. Boylan
Dr. and Mrs. Ralph Bozell
Paul and Anna Bradley
William R. Brashcar
Betsy and Ernest Brater
Professor and Mrs. Dale E. Briggs
Gerald and Marceline Bright
June and Donald Brown
Morton B. and Raya Brown
Arthur and Alice Burks
Phoebe R. Burt
Roscmaric and Jurg Caduff
Mrs. Theodore Cage
Freddie Caldwell
H. D. Cameron
Mr. and Mrs. Robert Campbell
Charles and Martha Canncll
Jim and Priscilla Carlson
John and Patricia Carver
Shelly and Andrew Caughcy
Tsun and Siu Ying Chang
Dr. Kyung and Young Cho
Nancy Cilley
Janice A. Clark
John and Nancy Clark
Alice S. Cohen
Wayne and Melinda Colquitl
Edward J. and Anne M. Comcau
Gordon and Marjorie Comfort
Sandra S. Conncllan
Maria and Carl Constant
Lolagenc C. Coombs
Gage R. Cooper
Mary K. Cordes
Alan and Bettc Couin
ClifTord and Laura Craig
Merle and Mary Ann Crawford
W. P. Cupplcs
Peter and Susan Darrow
Dr. and Mrs. Charles Davenport
Ed and Eilic Davidson
Jean and John Dcbbink
Laurence and Penny Dcitch
Elena and Nicholas Dclbanco
Benning and Elizabeth Dexter
Macdonald and Carolin Dick
Tom Doane and
I'.nii MarshalI-Doane Dr. and Mrs. Edward F. Domino William G. and Katherinc K Dow Nancy GrifTin DuBois J. W. Durstine Sally and Morgan Edwards Dr. Alan S. Eiser Emil and Joan Engel Mark and Patricia Enns Ellen C. Wagner and
Richard Epstein Don Fabcr
Dr. and Mrs. Stefan Fajans Elly and Harvey Falit Dr. and Mrs. John A. Faulkner Inka and David Felbeck Reno and Nancy Feldkamp Dr. James F. Filgas Sidney and Jean Fine Hcrschel and Annette Fink Mrs. BcthJ. Fischer Susan Fisher and John Waidley Linda W. Fitzgerald Ray and Patricia Fitzgerald Stephen and Suzanne Fleming Jennifer and Guillcrmo Flores Ernest and Margoi Fontheim Mr. and Mrs. George W. Ford James and Anne Ford Ilene H. Forsylh Phyllis W. Foster Paula L. Bockcnstcdt and
David A. Fox
Deborah and Ronald Frccdman David Fugcnschuh and
Karey Leach
Harriet and Daniel Fusfcld Gwyn and Jay Gardner Del and Louise Garrison
Professor and Mrs. David Gates Wood and Rosemary Geisi Henry and Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Fred and Joyce Ginsberg Irwin J. Goldstein and Marty Mayo Dr. Alexander Gotz J. Richard Goulet, M.D. Mrs, William C. Grabb Jerry and Mary K. Gray Dr.John and Renee M. Greden Daphne and Raymond Grew Leslie and Mary Ellen Guinn George N. Hall Marcia and John Hall Mary C. Harms Susan R. Harris Clifford and Alice Hart J. Theodore Hefley Kenneth and Jeanne Hciningcr John L. and
Jacqueline Stearns Hcnkel Herb and Dee Hildebrandt ("laudcttej. Stern and
Michael Hogan John and Maurita Holland Mary Jean and Graham Hovey Drs. Linda Samuelson and
Joel Howell Mrs. V. C. Hubbs David and Dolores Humes Mrs. Hazel Hunschc Robert B. and Virginia A. Ingling Ann K Irish John and Joan Jackson Mr. and Mrs. Donald E.Jahnckc Wallie and Janet Jeffries Mr. and Mrs.James W.Jensen Donald and Janice Johnson Mrs. Ellen C.Johnson Stephen G.Joscphson and
Sally C. Fink
Dr. and Mrs. Mark S. Kaminski Professor and Mrs. Wilfred Kaplan Herb Katz Anna M. Kaupcr Mr. and Mrs. Jacob Kellman Don and Mary Kiel Paul and Leah Kileny Richard and Pat King Mr, and Mrs. Thomas C. Kinnear Paul Kissner, M.D. and
Dana Kissner, M.D. Hermine R. Klinglcr Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Dimitri and Suzanne Kosachcff Samuel and Marilyn Krimm Alan and Jean Krisch Mae and Arthur Uinski Mr. and Mrs. Henry M. Lapcza John K. Lawrence Mr. and Mrs. Henry M. Lee John and Theresa Lee Ann M. Lcidy Myron and Bobbie Lcvine Jacqueline H. Lewis Evie and Allen Lichtcr Jody and Leo Lighthammcr Mark Lindlcy
Vi-Chcng and Hsi-Yen Liu Jane Lombard Dan and Kay Long Roberi G. Lovcil Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Mr. and Mrs. Donald Lystra Frederick C. and
Pamela J. Mackintosh Sadie C. Maggio Steve and Ginger Maggio Virginia Malik Mm and Carla Mandcl Mr Km and Jean Manis Eddie and Cathy Marcus Geraldine and Sheldon Market Lee and Greg Marks Rlioda and William Martcl Sally and Bill Martin Dr. and Mrs.Josip Malovinovic Mary and Chandler Matthews Margaret and Harris McClamroch Bruce and Mary McCuaig Griff and Pat McDonald Elaine J. McFaddcn Bill and Ginny McKcachie Margaret McKinley Daniel and Madclyn McMurtrie Jerry and Rhona Meislik Walter and Ruth Metzger Charles and Helen Mctzner I'n ii r and Deanna Michalowski Leo and Sally Miedler James and Kathleen Mitchincr Lester and Jeanne Monts James N. Morgan Dr. and Mrs. George W. Morley A. A. Moroun Cyril and Rona Moscow Dr. Eva L. Mueller Hillary Murt and
Bruce A. Friedman Dr. and Mrs. Gunder A. Myran Gcri Chipault and Fred Ncidhardt Sharon and Chuck Newman Mr. and Mrs. Marvin L_ Niehuss Virginia and Gordon Nordby Richard S. Nottingham Marylen and Harold Oberman Patricia O'Connor Dr. and Mrs. Frederick C. O'Dell Judith S. Olson
Constance L. and David W. Osier Richard and Miranda Pao William C. Parkinson Ara and Shirley Paul Dr. Owen Z. and
Barbara A. Perhnan Virginia Zapf Person Frank and Nelly Pclrock Lorraine B. Phillips Sharon McKay PignanelH Barry and Jane Pitt Randall and Mary Pittman Donald and Evonnc Planunga Steven and Tina Pollock Cynthia and Roger Postmus Mrs.J. D. Prcndcrgast Larry and Ann Preuss Charlecn Price Richard H. and Mary B. Price
Jerry and Millard Pryor David and Stephanie Pyne LclandJ. and
Elizabeth Quackenbush Hugo and Sharon Quiroz Mrs. Joseph S. Radom Homayoon Rahbari, M.D. Jim and ]r. Rasmusscn Kathcrinc R. Rccbcl La Vonnc and Gary Reed Mr. and Mrs. H. Robert Reynolds Dave and Joan Robinson John H. Romani and
Barbara A. Anderson Mrs. Irving Rose Gay and George Rosenwatd Elva M. Rosenzweig Dr. Nathaniel H. Rowe Jerome M. and Lee Ann Salic Ina and Terry Sandalow Gcorgiana M. Sanders Dr. and Mrs. Michael G. Sarosi Dr. Albert J. and Jane K. Saycd Mary A. Schieve and
Andy Achcnbaum I i.i i! 1 and Marcia Schmidt Elizabeth L. Schinitt Dr. and Mrs.
Charles R. Schmiuer.Jr 1 .t u 1 E. and
Monica N. Schteingart Suzanne Selig Joseph and Patricia Scttimi Mr. Thomas Sheets Ingrid and Clifford Sheldon Hollis and Martha Showaltcr Dr. Bruce M. Siegan Scott and Joan Singer Mrs. Loretia M. Skcwes John W. Smillie. M.D. Alene M. Smith Carl and Jari Smith George and Mary Elizabeth Smith Dr. and Mrs. Michael V. Smith Mr. and Mrs. Robert W. Smith Susan M. Smith Virginia B. Smith Mr. and Mrs. Edward Sopcak Cynthia J. Sorenscn [iianit.i and Joseph Spallma Allen and Mary Spivey Irving M. Stan! and
Pamela M. Rider David and Ann Staiger Mrs. Ralph L. Sieffek Dr. and Mrs. Alan Stciss Tliom and Ann Sterling Professor Louifl and Glcnnis Stout Dr. and Mrs. Stan Strasius Aileen and Clinton Strocbel Charlotte Sundelson Ronald and Ruth Sutton Dr. Jean K. Takeuchi Brian and Lee Talbot Jerry and Susan Tarpley Eva and Sam Taylor Mary D. Teal
James L. and Ann S. Tclfer George and Mary Tcwksbury Edwin J. Thomas Tom and Judy Thompson
Ted and Marge Thrasher Hugo and Karla Vandersypcn Jack and Marilyn van dcr Vfelde Rebecca Van Dyke Mr. and Mr.
Douglas Van Houweling Michael I.. 'an T;isscl William C. a-I! Carolyn S. and Jerry S. Voiglu Mr. and Mrs. Timothy Wadhams Warren Herb Wagner and
Florence S. Wagner Mi. and Mrs. Norman C. Wait Robert D. and I.iina M. Wallin Dr. and Mrs. Jon M. Wardncr Ruth and Chink Wftttt Robin and Harvey Wax Uillcs and Kathleen Weber Deborah Webster and
(iroii-c Millci Lawrence A. Wcis and
Sheila Johnson
Raoul Weisman ;uid Ann Friedman Walter L Wdla Dr. Steven W. Werns Ruth and Gilbert Whitaker B. Joseph and Mary White William and Cristina Wilcox Mr. and Mrs.
R. Jamison Williams Jr. Mrs. Elizabeth Wilson Mr. and Mrs. William Wilson Beth and I. W. Winstcn Marion T. Wirick GrantJ. Withcy, M.I). Charlotte Wolfe Dr. and Mrs. Ira Wollner Mr. and Mrs. A. C. Wooll Charles R. and Jean L. Wright Phyllis B. Wright Don and Charlotte Wyche Ryuzo Yamamoto Mr. and Mrs. Edwin H. Young R. Roger and Bctte F. Zaucl Mr. and Mrs. Martin Zcilc and srtirrat anonymous donors
Atlas Tool, Inc.
Briaruood Shopping Center
Chelsea Flower Shop
Dough Boys Bakery
Edwards Brothers, Inc.
Gandy Dancer
King's Keyboard House
Miller, Canficld, Paddock
and Stone Republic Bank Seva Restaurant and Market Urban Jewelers
FoundationsAgencies The Richard and Meryl Place Fund
Tim and Leah Adams
Ronald and Judith Adler
Anastasios Alexiou
Gregg T. Alf
Mr. and Mrs. Gordon E. Allardyce
James and Catherine Allen
Margaret and Wickliam Allen
Augustine and Kathleen Amaru
Mr. and Mrs. David AminofF
Mr. and Mrs. Charles T. Anderson
Drs. James and
Cathlecn Culotta-Andonian Bert and Pat Armstrong Mr. and Mrs. Lawrence E. Arnett Michael Avsharian Charlenc and Eugene Axclrod ] iti.nli.iti and Marlene Ayers Joseph C. Bagnasco Richard and Julia Bailey Doris I. Bailo Jean and Gaylord Baker Morris and Beverly Baker Dr. and Mrs. Daniel R. Balbach Chris and Lesti Ballard John K Barcham Norman E. Barnett Donald C. Barnette.Jr. Margo Barron Leslie and Anita Bassett Dr. and Mrs.Jere M. Bauer Mr. and Mrs. Steven R. Beckcrt Robert M. Beckley and
Judy Dinesen
David and Mary Anne Bcltzman Ronald and Linda Benson Mr. and Mrs. Ib Bcntzcn-Bilkvist Helen V. Berg Barbara Levin Bergman Marie and Gerald Berlin Lawrence S. Berlin Abraham and Thclma Berman Gene and Kay Berrodin Andrew H. Berry, D.O. R. Bczak and R. Halstead Naren and Nishta Bhatia C. Bhushan Shcryl Hirsch and John Billi Richard and Roswitha Bird William and Ilene Birge Elizabeth S. Bishop Marshall Blondy and Laurie Burry Mr. and Mrs. H. Harlan Bloomer Beverly J. Bole Mr. and Mrs. Mark D. Bomia Harold and Rebecca Bonnell Dr. and Mrs. David Bostian Richard Brandt and
K.ii iii.i Nicmcyer Representative Liz and
Professor Enoch Brater Mr. and Mrs. Patrice Brion William and Sandra Broucek Mrs. Joseph Brough Olin L. Browder Mr. and Mrs. Addison Brown Mr. Charles C. Brown
Linda Brown and Joel Goldberg Mr. and Mrs. John M. Bruegcr Mrs. Webster Brumbaugh Dr. and Mrs. Donald T. Bryant Robert and Carolyn Bin .u k Edward and Mary Cady Mrs. Darrell A. Campbell Jan and Steve Carpman Jcannette and Robert I. Carr Daniel Carroll and Julie A. C Virgo Mr. and Mrs. Dennis Carroll Mr. George Casey Dr. and Mrs. James T. Cassidy k.ithi.m M. Chan Mr. and Mrs.
Nicholas G. Chapekis, Sr. Mr. James S. Chen Robert and Eileen Choatc Pat Clapper
Brian and Cheryl Clarkson John and Kay Clifford Roger and Mary Coc Mr. and Mrs. Edward and
Catherine Colonc Mr. and Mrs. Craig Common Marjorie A. Cramer Mr. and Mrs. Richard Crawford Mr. and Mrs. Winton L. Crawford Kathleen J. Crispell and
Thomas S. Porter Margo Crist Lawrence Crochier Mr. and Mrs. James I. Crump Mary R. and John G. Curtis Mr. and Mrs. John R. Dale Mr. William H. Damon III Millie and Lee Danielson Jane and Gawainc Dart Mr. and Mrs. Arthur W. Davidge Laning R. Davidson, M.D. Ruth and Bruce P. Davis James Davis and
Elizabeth Waggoner Mr. and Mrs. R.C. Davis Mr. and Mrs. Ronald G. Dawson Robert and ,t Ream Dcbrodt Dr. and Mrs. Raymond F. Decker Rossanna and George DcGrood Elizabeth and Edmond DcVinc Meg Diamond Martha and Ron DiCecco Gordon and Elaine Didicr A. Nelson Dingle Dr. Edward R. Doezema Thomas and Esther Donahue Mr. Thomas Downs Roland and Diane Drayson Mr. and Mrs. Harry Drcffs John Drydcn and Diana Raimi James and Anne Dudcrstadt Dr. and Mrs. Cameron B. Duncan Rosannc and Sandy Duncan Michael R. Dungan Robert and Connie Dunlap Jean and Russell Dunnaback Edmund H. and Mary B. Durfee George C. and Roberta R. Earl Mr. and Mrs. William G. Earle Jacquelynne S. Eccles Mr. and Mrs. John R. Edman David A. Eklund Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis
Mrs. Gencvicvc Ely
Mackenzie and Marcia Endo
Bill and Karen Ensmingcr
Stephen Ernst and Pamela
Raymond Ernst
Dorothy and Donald F. Eschman
Joel Evilsizcr
Adelc Ewell
Mr. and Mrs. Robert B. Fair, Jr.
Mark and Karen Falahee
Dr. and Mrs. Cyrus Farrehi
David and Joanna Fcathcrman
Dr. and Mrs. Irving Feller
Phil and Phyllis Feilin
Carol 1 ini linn
C. Peter and Bev A. Fischer
Dr. and Mrs. John Fischer
Jon Fischer
Barbara and James Fitzgerald
Dr. and Mrs. Melvin Flamcnbaum
Jon Fliegcl
Wayne and Lynnette Forde
Doris E. Foss
Lucia and Doug Freeth
Richard andjoann Freethy
Linda and Larry French
Richard and Joanna Friedman
Gail Fromes
LelaJ. Fuester
Carol Gagliardi and David
Jane Galantowicz
Bernard and Enid Gallcr
Joyce A. Gamtn
Mrs. Don Gargaro
Mrs. Shirley H.Gai land
Stanley and Priscilla Garn
Drs. Steve Geiringer and
Karen Bantcl
Bruce and Anne Genovcse Michael Gerstcnbergcr W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Gcnne and Allan Gibbard David and Maureen Ginsberg Albert and Almeda Girod Robert and Barbara Gockcl Dr. and Mrs. Howard S. Goldberg Mary L. Golden Ed and Mona Goldman Steve and Nancy Goldstein Mrs. Eszter Gombosi Elizabeth V Goodenough and
James G. Leaf Mitch and Barb Goodkin Mr. and Mrs. Jon L. Gordon Mr. Adon A. Gordus Sclma and Albert Gorlin Naomi Gottlieb Michael L. Gowing Christopher and Elaine Graham Elizabeth Nccdham Graham Whit and Svea Gray Harry Greenberg and
Anne Brockman Dr. and Mrs. Lazar J. Greenfield Bill and Louise Gregory Linda and Roger (in-kin Susan and Mark Griffin Werner H. Grilk Robert M. Grover Mr. Philip Guirc Arthur W. Gulick, M.D.
Margaret Gutowski and
Michael Marietta Don P. Hacfner and
Cynthia J. Stewart Helen C. Hall Claribel Halstead Margo Halsted
Mr. and Mrs. Herbert R. Harjcs Stephen G. and Mary Anna Harper Antonio Harris Jean Harter Elizabeth C. Hassinen James B. and Roberta T. Hausc Mr. and Mrs. George Hawkins Rose and John Henderson Mr. and Mrs. Richard Henderson Mr. and Mrs. Karl P. Henkel Dr. and Mrs. Keith S. Henley Jeanne Hernandez Ramon and Fern Hernandez Tatiana Herrero Bernstein C. C. Herrington, M.D. Elfrida H. Hiebert and
Charles W. Fisher Lorna and Mark Hildcbrandi Mr. and Mrs. Jerry Leigh Hill Peter G. Hinman and
Elizabeth A. Young Joanne and Charles Hocking Louise Hodgson Jane and Dick Hocrncr Carol and Dieter I luhnkc Ken and Joyce Holmes John F. and Mary Helen Hoh Dr. and Mrs. Frederic B. House Drs. Richard and Diane Howlin Charles T. Hudson Harry and Ruth Huff Joanne W. Hulce Ann D. Hungcrman Mr. and Mrs. Russell L. Hurst Eileen and Saul Hymans Margaret and Eugene Ingram Edgar F. and M.JaniccJacobi Harold and Jean Jacobson Jim and Dale Jerome Tom and Marie Justcr Mary B. and Douglas Kahn Mary Kalmes and Larry Friedman Steven R. Kalt Mr. and Mrs. Irving Kao David J. Kaiz
Km ( and Marilce Kaufman Mr. and Mrs. N. Kazan Mr. and Mrs. Frank Kennedy Linda Atkins and Thomas Kcnncy Benjamin Kcrncr Heidi and Josh Kcrst William and Betsy Kincaid Howard King and Elizabeth
Sayre-King Esther Kirshbaum James and Jane Kister Shu.1 and Sieve Klein Gerald and Eileen Klos Mr. and Mrs. Edward Kluni Jolcnc and Gregory Knapp Glenn and Shirley Knudsvig Charles and Linda Koopmann Mclvyn and IJnda Korobkin Mr. and Mrs. E. J. Kowaleski Jean and Dick Kraft David and Martha Krchbicl
William J. Bucci and Janet Krciling
Alexander Krezcl
William G. Kring
John A. and Justine Krsul
Danielle and George Kupcr
Dr. and Mrs. Richard A. Kutcipal
Mr. and Mrs. Seymour Lampert
Henry and Alice Landau
Marjoric Lansing
Beth and George Lavoic
Ted and Wendy Lawrence
Laurie and Bob LaZebnik
Mrs. Kent W. Leach
Sue Leong
Margaret E. Leslie
Richard LeSucur
Deborah S. Lewis
Nathan and Eleanor Lipson
Rod and Robin Little
Dr. Jackie Livesay
lVln l.n
Naomi E. Lohr
Diane and Dolph Lohwasser
Ronald Longhofer
Leslie and Susan Loomans
Mr. and Mrs. Richard S. Ixrd
Bruce and Pal Loughry
Ross E. Luckc
Lynn Luckenbach
Robert and Pearson Macck
Susan E. Macias
Charlene and William MacRiichic
Chun I. Mah
Geoffrey and Janet Mahcr
Suzanne and Jay Mahler
Deborah Malamud and Neal Piotkin
Dr. Karl D. Malcolm
Claire and Richard Malvin
Mr. and Mrs. Kazuhiko Manabe
Pearl Manning
Paul and Shari Mansky
Mr. and Mrs. Anthony E. Mansueto
Michael and Pamela Marcovitz
Dr. Howard Market
Marjoric and Robert Marshall
Dr. and Mrs.J. E. Martin
Rebecca Martin
Margaret Ma&sialas
Tamotsu Matsumoto
Marilyn Mazanec Benedict
Margaret E. McCarthy
Ernest and Adele McCarus
David G. McConnell
Cathryn S. and
Ronald G. McCready Dores M. McCree Mary and Norman Mclver Robert E. and Nancy A. Meader Mr. and Mrs. John Merrificld Henry D. Messer and
Carl A. House Robert and Bettie Mclcalf Professor and
Mrs. Donald Meyer Dr. and Mrs. Robert A. Meyers Helen M. Michacb Carmen and Jack Miller Mr. and Mrs. Milton J. Miller Dr. Robert R. Miller Bob and Carol Milstcin Thomas and Doris Mirec Mr. and
Mrs. William G. Mollcr.Jr.
Arnold and Gail Morawa Sophie and Robert Mordis Kenneth andjane Moriarty John and Michelle Morris Mclinda and Bob Morris Brian and Jacqueline Morton Mrs. Erwin Muchlig Janet Muhlcman (..i in Eadic and
Barbara Murphy Rosemarie Nagel TaLsuyoshi Nakamura Dr. andMrs.J.V. Neel Nancy Nelson Martin NeuHep and
Patricia Pancioli Richard E. Nisbctt and
Susan I. Nisbctt Jack and Kerry Kelly-N'ovick Lois and Michael Oksenbcrg Robert and Elizabeth Oneal Lillian G. Ostrand Mrs. Barbara H. Outwaler Anneke de Bruyn Oversclh Julie and Dave Owens Mrs. John Panchuk Dr. and Mrs. Sujit K. Pandit James and Bella Parker Mr. and Mrs. Brian P. Patchcn Eszthcr T. Pattantyus Nancy K. Paul
Elizabeth and Beverly Payne Ruth and Joe Payne Agnes and Raymond Pearson F.Johanna Peluer Bradford Perkins Susan A. Perry Ellsworth M. Peterson Mr. and
Mrs. Frederick R. Pickard Robert and Mary Ann Pierce Dr. and Mrs. James Pikulski Martin A. Podolsky Dps. Edward and Rhoda Powsner Ernst Pulgram Michael and Helen Radock Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert Rasmussen Jim and Toni Reese Anthony L. Rcffells and
Elaine A. Bennett Dorothy and Stanislav Rehak JoAnne C. Rcuss David Reynolds John and Nancy Reynolds Alice Rhodes Jesse Richards Elizabeth G. Richart Frances Grecr Rilcy Constance Rinchart Joe and Carolyn Roberson Peter and Shirley Roberts Richard C. Rockwell Willard and Mary Ann Rodgers Mr. and Mrs. Stephen J. Rogers Yclena and Michael Romm Elizabeth A. Rose Dr. Susan M. Rose Drs. Stephen Rosenblum and
Rosalyn Sarver
Gustavc and Jacqueline Rossccls Dr. and
Mrs. Raymond W. Ruddon.Jr.
Kenneth Rule John Paul Rutherford Tom and Dolores Ryan Mitchell and Carole Rycus James and Ellen Saalbcrg Theodore and Joan Sachs Arnold SamcroiT and
Susan McDonough Howard and 1 ili Sandier John and Reda Santinga Dr. and Mrs. Edward C. Sarkisian Ms. Sara Savarino ( (mi and Inga Schmidt Charlenc and Carl Schmull Gerald and Sharon Schrciber Albert and Susan Schultz Michelle Schultz, M.D. Alan and Marianne Schwartz Sheila and Ed Schwartz Patricia Schwartz Kroy Jane and Fred Schwarz Ruth Scodel Jonathan Bromberg and
Barbara Scotl
Douglas and Carole B. Scott Joanna and Douglas Scott Mary and John Sedlander John and Carole Segall Louis and Sherry Scnunas Richard Shackson Nancy Silver Shalit Dr. and Mrs.J. N. Shanbcrgc David and Elvera Shappirio Dr. and Mrs. Ivan Shcrick Cynthia Shevel Jean and Thomas Shope Mr. and Mrs. Ted Shuliz John and Arlcne Shy Milton and Gloria Sicgcl Ken Silk and Peggy Buttenhcim Dr. Albert and
Mrs. Halina Silverman Frances and Scott Simonds Donald and Susan Sinta Dr. and Mrs. Michael W. Smith Drs. Peter Smith and
Diane Czuk-Smith Judy Z. Somcrs Katharine B. Sopcr Dr. Yoram Sorokin Mr. and Mrs. Robert E. Spcncc Anne L. Spcndlove James P. Spica Jeff Spindlcr Curt and Gus Stager Betty and Harold Stark Mr. and Mrs. John C. Stcgeman Virginia and Eric Stein Frank D. Stella John and Beryl Stimson Mr. James L Stoddard Robert and Shelly Stolcr Wolfgang F. Stolper Anjanettc M. Stoltz, M.D. Mrs. William H. Stubbins Jenny G. Su Valerie Y. Suslow Mr. and Mrs. Earl G. Swain Mr. and Mrs. Robert S. Swanson Richard and June Swartz Lois A. Thcis Carol and Jim Thiry Catherine and Noi man Thoburn
Mr. and Mrs. James W. Thomson
Charles and Peggy Ticman
Thclma and Richard Tolbcrt
Donna K. Tope
Dr. and Mrs. Merlin C. Townley
Angie and Bob Trinka
Sarah Trinkaus
Marilyn Tsao and Steve Cao
Ynkiku Tsunoda
William H. and Cerilyn K. Turner
Taro Ucki
Alvan and Katharine Uhlc
Gaytord E. and
Kathryn W. Underwood Madeleine Vallier Cart and Sue Van Applcdorn Rob and Tanja Van dcr Voo Robert and Barbara Van Ess Marie B. and Theodore R. Vogt Sally Wackcr
Delia DiPictro and Jack Wagoner Gregory and Annette Walker Eric and Sherry Warden Mr. and Mrs. Barrett Wayburn Joan M. Weber Jack and Jerry Weidenbach Donna G. Weisman Barbara Weiss Mrs. Sianfield M. Wells, Jr. David and Rosemary Wcsenberg Ken and Cherry Westerman Susan and Peter Wesicrman Marjorie Wcstphal Marilyn 1Wheaton and Paul Dufiy Esther Redmount and
Harry While Janet F. White
Mr. and Mrs. Nathaniel Whitcsidc Mrs. Clara G. Whiting Douglas Wickens Jane Wilkinson Reverend Francis E. Williams John Troy Williams Shelly F. Williams Dr. and Mrs. S. B. Winslow Charles Witkc and Aileen Gatten Jeff and Linda Wiizburg Noreen Ferris and Mark Wolcott Patricia and Rodger Wolff David and April Wright Dr. and Mrs. Clyde Wu Carl and Mary Ida Yost Shirley Young Ann and Ralph Youngren Frederic and Patricia Zcisler Mr. and Mrs. David Zuk David S. and Susan H. Zurvalec and srirrat anonymous donon
Adistra Corporation
Coffee Beancry -Briarwood Mall
Cousins Heritage Inn
Development Strategies Plus
Garris, Garris, Garris & Garris, P.C
Great Lakes Cycling & Fiuicss
Jeffrey Michael Powers Beauty Spa
Junior League of Ann Arbor
Michigan Opera Theatre
Patrons, continued
SKR Classical University Microfilms
International Van Bovcn Inc.
FoundationsAgencies The Shapcro Foundation
Sue and Michael Abbott Mr. 1 vim.i Abdali and
Ms. Kisook Park Philip M. Abruzzi Chris and Tena Achcn Bob Ainsworth
Michihiko and Hiroko Akiyama Roger Albin and Nili Tannenbaum Michael and Suzan Alexander Harold and Phyllis Allen Forrest Alter
Jim Anderson and Lisa Walsh Catherine M. Andrea Julia Andrews Hiroshi and Matsumi Arai Mary C. Arbour
ThomasJ. andjill B. Archambeau 1 ? (In.11 tin and Nancy Arciniegas Thomas J. and Mary E. Armstrong Rudolf and Mary Arnhcim Margaret S. Athay Mr. and Mrs. Dan E. Atkins III John and Rosemary Austgcn Drs.John and Lillian Back Bill andjoann Baker Laurence A. and Barbara K. Baker Mr. and Mrs. Richard P. Baks Ann Barden
David and Monika Barcra Maria Kardas Barna Laurie and Jeffrey Barnctt Joan W. Barth Beverley M. Baskins Ms. Maria do Carno Bastos Dorothy W. Bauer Thomas and Sherri L Baughman Harold F. Baut Mary T. Bcckcrman Robert B. Beers Dr. and Mrs. Richard Beil Dr. and Mrs. Walter Benenson Merete and
Erling Blondal Bengtsson Alice R. Bcnsen Dr. Rosemary R. Berardi James K. and Lynda W. Berg T.J. andM. R. Beiley Ralph and Mary Beuhlcr Maria T. Beyc
John and Marguerite Bianckc Eric and Doris Billes Jack and Anne Birch field Drs. Ronald C. and
Nancy V. Bishop Bill and Sue Black
Jane M. Bloom
Kuril! L Bodycombc
Dr. and Mrs. Frank Bongiorno
!iiitu-i i and Shirley Boone
Edward G. and Luciana Borbcly
LolaJ. Borchardt
Paul D, Barman
l-'f .! and Morris Bornstein
John D. and M. Leora Bowden
Jan and Bob Bower
Sally and Bill Bowers
David G. Bowman and
Sara M. Rimer Dennis and Grace Bowman William F. and
Joyce E. Braeuninger Cy and Luan Briefer John and Amanda Brodkin Amy J. and Clifford L. Broman RazeMe and George Brooks Mr. and Mrs.
Edward W. Browning Phil Bucksbaum and
Roberta Morris Trudy and Jonathan Bulklcy Miss Frances Bull Mrs. Sibyl Burling Mrs. Betty M. Bust Dr. and Mrs. Robert S. Buttch Barbara and Albert Cain Louis and Janet Callaway.Jr. Father Roland Calvcrt Susan and Oliver Cameron Dr. Ruth Cantieny Dennis and Kathleen Cantwell Susan Cares George R. Carignan Carolyn M. Carty and
Thomas H. Haug Jack Ccderquist David and Ilene Chait Mary Chambers Bill and Susan Chandler Ida K Chapin and Joseph Spindcl Belle H. Chen Joan and Mark Chester Edward and Rebecca Chudacoff Ching-wei Chung Joan F. Cipelle Arthur and Alice Gofer Dorothy Burke Coffey Hilary and Michael Cohen Howard and Vivian Cole . Kevin and Judy Compton Nan and Bill Conlin Dr. and Mrs. William W. Coon Herbert Couf Joan and Roger Craig Mary Crawford Donald Cress Mary C. Crichton Thomas A. Crumm Ms. Carolyn Rundcll Culotta Ms. Carolyn Cummisky Richard J. Cunningham Frank and Lynn Curtin Mr. Joseph Curtin Suzanne Curtis Dr. and Mrs. Harold J. Daitch Ms. Marcia Dalbey Marylce Dalton Joanne Danto Honhart Dean and Mrs. John H. D'Arms
Mildred and William B. Darnton Dai Linda and Robert Dascola Ruth E. Datz Jennifer Davidson Morris and May Davidson Nancy Davis
Dean and Cynthia DeGalan Elizabeth Dclaney Ms. Margaret H. Dcmant Michael T. DcPlonty Raymond A. Dcttcr Mr. David Digirolamo Linda Dintenfass Douglas and Ruth Doanc Dick and Jane Dorr Ruth P. Dorr
Dr. and Mrs. Charles H. Duncan Elsie Dyke John Ebenhoeh Dwighi and Mary Ellen Eckler Ruth Eckstein Ingrid Eidnes
Mr. and Mrs. Charles Eisendrath Sol and Judith Elkin Dr. and Mrs. Charles Ellis James H. Ellis and Jean A. Lawton Dick .mil Helen Emmons Mr. and Mrs. H. Michael Endres Jim and Sandy Eng Mr. and Mrs. C E. Evans Paul and Mary Fancher Dr. Cheryl C. Farmer, Mayor of Ypsilanti Peter Farrehi
Damian and Katharine Farrell Dorothy Gitdcman Feldman George J. and Bcnita Feldman Yi-tsi M. Feuerwerker Ruth Fiegel Clay Flnkbeiner Howard G. Finkel Mrs. Carl H. Fischer Eileen Fisher Winifred Fisher Linda and Tom Fitzgerald Jessica Fogel and Lawrence Wcincr
Daniel R. Folcy George and Kathryn Foltz Bill and Wanita Forgacs David J. Fraher Mr. and Mrs. Maris Fravel Ms. Julia Freer Mr. and Mrs. Otto W. Freitag Bart and Fran Fruch Bruce and Rebecca Gaffney Arthur Gallagher Edward Gamache and Robin Baker
C.J. Gardiner
Leonard and Mary Alice Gay Mr. and Mrs. Ralph J. Gerson Beverly Jeanne Giltrow Han (,iiHi 11
Dr. and Mrs. J. Globe rson Peter and Roberta Cluck Dr. Ben Gold Mr. and Mrs. Robert Gold Albert L. Goldberg Dr. and Mrs. Edward Goldberg Edie Goldcnberg Anita and Albert Goldstein Mr. and Mrs. David N. Goldswcig
C. Ellen Gonler
M. Sarah Gonzalez
Graham Gooding
Enid M. Gosling
Siri Gottlieb
I-uiy and Martha Gray
Elizabeth A. H. Green
G. Robinson and Ann Gregory
Sally Grevc and Walter Fisher
Mr. and Mrs. James J. Gribble
Mrs. Atlee L. Grillot
Melissa Gross
Cyril Grum and Cathy Strachan
Dr. Carol J. Guardo
Ms. Kay Gugala
Cheryl Gimipcr
Mr. and Mrs. Lionel Guregian
Debra Haas
Gary L. Hahn and
Deborah L. Hahn J. M. Hahn Marga S. Hampcl Mr. and Mrs. Carl T. Hanks David and Patricia Hanna Mr. and Mrs. Glenn A. Harder R.J. Harmon Jane A. Harrcll Connie Harris I -uii 11'. iiinDaniels and
George P. Harris Robert Glen Harris Mr. and Mrs. Robert B. Harris Caroll and Beth Hart Jerome P. Hartweg Carol and Steve Harvath Mr. and Mrs. Eugene Hcffelfingcr Dr. John D. Heidke Miriam Heins Jeff and Karen Helmick Gary L. Henderson Leslie and William Hennessey Mr. and Mrs. Ralph Herbert Mr. and Mrs. Albert Hcrmalin Emily F. Hicks Ms. Betty Hicks Jozwick Mark and Debbie Hildebrandt Aki H ii .it.i
Deborah and Dale Hudson Mclvin and Verna Holley Hisato and Yukiko Honda Mr. and Mrs. Harry Hopkins Jack and Davetta Horncr Dr. Nancy Houk Jim and Wendy Fisher House Kenneth and Carol Hovcy Barbara Hudgins Mr. and Mrs. William Hufford Ling I luni; Diane Hunter Stephen and Diane Iinredy Edward C. Ingraham Perry Elizabeth Irish
1.11 I .l( ksi.ll
M. Janice Jacobi
Dr. and Mrs. Manuel Jacobs
Marilyn G. Jeffs
Joann J. Jeromin
Wilma M.Johnson
Helen Johnstone
Elizabeth M. Jones
Dr. Marilyn S.Jones
Phillips. Jones
John and Linda K. Jon ides
Chris and Sandy Jung
Professor and Mrs. Friiz Kaenzig
William and Ellen Knhn
Lorcc K Kalliaincn
Thomas and Rosalie Karunas
Bob N. Kashino
Franklin and Judith Kaslc
Alex F. and Phyllis A. Kato
Maxine and David Kaiz
Martin and Helen Kaiz
Julia and Philip Kearney
Janice Keller
Mr. and Mrs. Charles Kcllerman
Mary Kemme
Lawrence Kcstenbaum and
Janice Gutfreund Robert and Lois Kctrow Jeanne Kin
Robert and Vicki Kiningham Klair H. Kissel James Klimcr Alexander Klos
Dr. and Mrs. William L. Knapp Dr. Barbel Knaupcr Sharon L. Knight Lester Kobylak Seymour Kocnigsbcrg Michael and Paula Koppisch Alan A. and Sandra L Kortesoja Ann Marie Kotre Shcryl E. Krasnow Robert Krasny Ethel and Sidney Krause Doris and Donald Kraushaar Edward and Lois Kraynak Kenneth C. Kreger Syma and Phil Kroll Lawrence B. Kuczmarski Jane Kulpinski Eli and Lily Ladin Cclc and Martin Landay Patricia M. Lang Walter and Lisa Langlois Guy and Taffy Larcom Christine Larson Carl and Ann LaRuc Ms. Olya K. Lash Ruth J. Lawrence Sue C. Lawson Judith andjerold Lax Fred and Ethel Lee Stephane Legault Paul and Ruth Lehman Mr. C. F. Lehmann Dr. and Mrs. Morton B. Lesser Diane Lester and
Richard Sullivan Carolyn Dana Lewis Thomas and Judy Lewis Dr. David J. Licbcrman Ken and Jane Lieberthal Ying-Chu Lin
Dr. and Mrs. Richard H. Lincback Andi Lipson and Jerry Fishman Rebecca and Lawrence Lohr Barbara R. Lott Donna and Paul Lowry Jeannctte Luton John J. Lynch, Any. Dr. and Mrs. Cecil Mackey Gregg and Merilce Magnuson Ronald Majcwski and Mary Wolf Donna and Parkc Malcolm
Allen Malinoff Alice and Bob Marks Erica and Harry Marsden
Y.lMlku M.ltMlflll
Debra Maitison
Robert and Betsy Maxwell
John M. Allen and
Ediih A. Maynard Dr. and Mrs. David McCubbrcy Bernard and MaryAnn McCulloch James and Kathleen McCauley Scon McGlynn James M. Beck and
RobertJ. McGranaghan Louise E. McKinney Donald and Elizabeth McNair Anthony and Barbara Medciros Dr. and Mrs. Donald A. Meier Samuel and Alice Meiscls Norman and Laura Mcluch Helen F. Meranda Rev. Harold L. Merchant Mr. and Mrs. John F. Mctzlcr Valerie D. Meyer Mr. and Mrs. Herbert M. Meyers Dick and Georgia Mcyerson William M. Mikkeisen Ms. Virginia A. Mikola John Milford Gerald A. Miller Dr. and Mrs. Josef M. Miller Mr. and Mrs. Murray H. Miller Charles and Elizabeth Mitchell Wakaki Miyaji Ruth M. Monahan Kent and Roni Moncur Gail Monds P. Montgomery Ellyne and Arnold Monto Rosalie E. Moore Kiltie Berger Morelock Mr. and Mrs. Thomas D. Morrow Bcrnhard and Donna Muller Lora G. Myers Yoshiko Nagamatsu Louis andjulic Nagel Ruth Nagler R. andj. Necdlcman Nikki E. Neustadt Martha K. Niland Gene and Pat Nisscn Laura Nitzberg Joan and John Nixon i'I.mi.i and Andrzcj Nowak John and Lexa O'Brien Tliomas P. O'Connor Michael and Jan O'Donnell Nels and Mary Olson Kaoru Onishi Fred Ormand Mr. James J.Oscbold Hciju Oak and James Packard George Palty
Mr. and Mrs. Kenneth Pardonnet Michael P. Parin Janet Parkcs
Evans and Charlene Parrott Roger Paul!
Vassiliki and Dimitris Pavlidis Edward J. Pawlak Edwin and Sue Pear Zoe and Joe Pearson Donald and Edith Pclz
Mr. William A. Penner.Jr.
C. Anlhony and Marie Phillips
Nancy S. Pickus
Daniel G. Piesko
Mr. and Mrs. Robert H. I'lummcr
Mr. and Mrs. John R. Politzcr
Mr. and Mrs. Gerald Powrozek
Mary and Robert Pratt
Roland W. Pratt
Jerry Preston
Mr. Richard H. Price
John and Nancy Prince
Julian and Evelyn Prince
Ruth S. Putnam
G. Robina Quale
Douglass and Debbie Query
Leslie and Doug Quint
Susan M. and Farbod Raam
Mr. and Mrs. Alex Raikhel
Mr. and Mrs.
Alfred C. Raphaeison Dr. and Mrs. Mark Rayport Maxwell and Marjorie Reade Caroline Rehbcrg Esther M. Rcilly Deanna and Pietcr Rclyca Mr. and Mrs. Frederick Remlcy.Jr. Ms. Molly Rcsnik Mr. and Mrs. Neil Ressler M. Laurel Reynolds Lou and Sheila Rice Lisa Richardson Judy Ripple
William and Kayc Rittinger Lisa E. Rives and Jason I. Collcns Janet K. Robinson, Ph.D. Ms. Margaret Dearden Robinson Edith and Raymond Rose Bernard and Barbara Rosen Marilynn M. Rosenthal Charles W. Ross
Jennifer Ross and Charles Daval Dr. and Mrs. David Roush Mr. and Mrs. John P. Rowc George and Matilda Rubin Mabel E. Rugen Sandra and Doyle Samons Dr. Anna M. Santiago Harry W. and Elaine Sargous Elizabeth M. Savage June and Richard Saxc Jochen and Hclga Schacht Michael Joseph Schaetzle Bonnie R. Schafer Mr. and Mrs. Alan Schall Mr. and Mrs. F. Allan Schenck Dr. and Mrs. DirkJ. Scholten Thomas H. Schopmeyer Kathcrine Collier and
Vizhak Schotten Sue Schrocder Ailcen M. Schulzc Dorothy Scully Anne Brantley Scgatl Sylvia and Leonard Segel Richard A. Seid
Elliot A. and Barbara M. Scrafin Kirtikant and Sudha Shah Matthew Shapiro and Susan Garctz Kathleen A. Shcchy William J. Sherzer Ms. Joan D. Showalter Janet E. Shultz
Ray and Marylin Sinister
Barry and Karen Siegcl
Enrique Signori
Drs. Dorii Adler and Terry Silver
Fran Simek
Sandy and Dick Simon
Bob and Elaine Sims
Alan and Eleanor Singer
Jane Singer
Nora G. Singer
Jack and Shirley Sirotkin
lrmaj. Sklcnar
J.rgen O. Skoppek
Beverly N. Slater
Tad Slawecki
Haldon and Tina Smith
Richard and Jo-Ann Socha
Arthur and Elizabeth Solomon
James A. Somers
R. Thomas and
Elinor M. Sommcrfeld Mm.i Diver Sonda Barbara Spencer Jim Spevak and Leslie Bruch L. G. Spranklc Bob and Joyce Squires Mary Stadel
Neil and Burnette Staebler Joan and Ralph Stahman David SteinhofTand
Jaye Schlesinger Robin Stcphenson and
Terry Drcnt Steve and Gaylc Stewart Ms. Lyneitc Stindt and
Mr. Craig S. Ross Lawrence and Lisa Stock Mr. and Mrs. James Siokoc Judy and Sam Stulberg Anani Sundaram Alfred and Sclma Sussman Mary Margaret and
Robert Sweeten Yorozu Tabala K. Boyer and S. Tainter Junko Takahashi Larry and Roberta Tankanow Professor and
Mrs. Robert C. Taylor Robert Teichcr and
Sharon Gambin
Kenneth and Benita Tcschendorf Brian and Mary Ann Thclcn Neal Tolchin Egons and Susannc Tons Jim Toy
Paul and Barbara Trudgen Jeffrey and Lisa Tulin-Silvcr Mr. and Mrs. Marshall Tymn Nikolas Tzannctakis Mr. Masaki Ucno Greg Upshur Iris Cheng and Daniel Uri Dr. and Ms. Samuel C. Ursu Arthur and Judith Vander Bram and I i.i van I,ccr Phyllis Vcgter
Kitty Bridges and David Vclleman Ingrid Vcrhammc Mrs. Durwell Vettcr Brent Wagner
Wendy L. Wahl and William R. Lee Mr. and Mrs. David C. Walker
Donors, continued
Patricia Walsh Margaret Walter Karen and Orson Wang Margaret Warrick Lorraine Nadclman and
Sidney Warschausky Alice and Martin Warshaw Edward C. Weber Michael Webster and
Leone Buyse Steven P. Weikal Gerane Wcinrcich David and Jacki Weisman Drs. Bernard and Sharon Weiss Lisa and Steve Weiss Elizabeth A. Wentzicn Mr. Carl Widmann Mr. and Mrs. Peter H. Wilcox Mr. and Mrs. Michael S. Wilhelm James Williams John and Christa Williams Raymond C. Williams Diane M. Willis Richard C. Wilson Robert and Mary Wind James H. and Mary Anne Winter Mary Winter
Dr. and Mrs. Lawrence D. Wise Don Wismer
Esther and Clarence Wisse Joyce Guior Wolf, M.D. Mr. C. Christopher Wolfe and
Ms. Linda Kidder Muriel and Dick Wong Barbara H. Wooding Stewart and Carolyn Work Israel and Fay Woronoff Robert E. Wray, III Ernst Wuckert Patricia Wulp Fran and Ben Wylie Mrs. Antoncttc Zadrozny Dr. Stephen C. Zambito Robert and Charlcne R. Zand Bertram and Lynn Zheutlin George and Nana Zissis and several anonymous donors
ApplausePerfect Ten
Bally's Vic Tanny
Callinetic5 by Diane
Courtney and Lovcll
Crown Steel Rail Company
Gallery Von Glahn
Great Harvest Bread Company
Paesano's Restaurant
Sweet Lorraine's Cafe & Bar
Whole Foods Market
Charles A. Sink Society
Honoring members with cumulative giving totals over $15,000.
Dr. and Mrs. Robert G. Aldrich Herb and Carol Amstcr Jim Botsford and
Janice Stevens Botsford Carl and Isabclle Braucr Mr. Ralph Conger Margaret and Douglas Crary Mr, and Mrs, Thomas C. Evans Ken, Penny and Matt Fischer Dale and Marilyn Fosdick Sue and Carl Ginglcs Mr. and Mrs. Peter N. Heydon Mr. and Mrs. Howard S. Holmes Elizabeth E. Kennedy Mr. and Mrs. William C. Martin Judythe and Roger Maugh Charlotte McGeoch Karen Koykka O'Neal and
Joe O'Neal
Mr. and Mrs. William B. Palmer Maxinc and Wilbur K. Pierpont John Psarouthakls Richard and Susan Rogcl Maya Savarino and
Raymond Tanter Dr. Herbert Sloan Carol and Irving Smokier Mr. Helmut F. Stern Dr. and Mrs. E. Thurston Thieme Esielle Tilicv Paul and Elizabeth Yhousc
Dahlmann Properties
The Edward Surovell Co.Realtors
First of America Bank
Ford Motor Credit Company
Ford Motor Company
Great Lakes Bankcorp
Jacobson Stores, Inc.
JPEinc.Thc Paidcia Foundation
Mainslrect Ventures
McKinley Associates
Philips Display Components
Company Society Bank Trimas Corporation Warncr-LambcrtParkc Davis
Research Division Wolverine Temporaries, Inc.
The Ann Arbor Area
Community Foundation
Arts Midwest
The Benard L. Maas Foundation
The Grayling Fund
Lila Wallace-Reader's Digest Fund
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Gigi Andresen
Chase and Delphi Baromes
Dean Bodley
V A. (Bud) Branson
Graham Conger
Pauline M. Conger
Joanna Cornett
Horace Dewey
Alice Kclsey Dunn
Robert S. Feldman
IiabcMe M. Garrison
Ed Gilbert
Florence Griffin
Eleanor Groves
Ralph Herbert
Charles W. Hills
George R. Hunsche
Hazel Hill Hunt
Virginia Ann Hunt
Virginia Elinor Hunt
Earl Meredith Kcmpf
Edith Staebler Kempf
R. Hudson Ladd
John Lewis
Robert Lewis
Carol Lighthall
Lorcne Crank Lloyd
Katherinc Mabarak
Frederick C. Matthaci, Sr.
Arthur Mayday, Jr.
Earl Meredith
Mr. and Mrs. Merle Elliot Myers
Martha P. Palty
Elizabeth Peebler
Gwen and Emerson Powrie
Steffi Reiss
Percy Richardson
James H. and Cornelia M. Spencer
Ralph L Stcffek
Charlcnc Parker Stern
Jewel B. Stockard
Mark Von Wyss
Barbara Woods
Peter H. Woods
Inkind Gifts
Sue and Michael Abbott
Ricky AgranofT
Catherine Arcure
Paulett and Peter Banks
Ms. Janice Stevens Botsford
James and Betty Byrne
Mr. Phil Cole
Cousins Heritage Inn
Curtin and Alf
Ken Fischer
Susan Fitzpairick
The Gandy Dancer
Bob Grijalva
Leslie and Mary Ellen Guinn
Margo Halsted
Matthew C. Hoffman and
Kerry McNuliy Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa Bob and Gloria Kerry Howard King and
Elizabeth Sayre-King Bruce Kulp Maggie Long
Perfectly Seasoned Catering Mr. and Mrs. Donald LystraDough Boys Bakery Steve and Ginger Maggio Regency Travel Maya Savarino Thomas Sheets SKR Classical David Smith Photography Ncsta Spink
Edward Surovell and Natalie Lacy Janet Torno
Dr. and Mrs. John F. Ullrich Paul and Elizabeth Yhousc
Advertiser's Index
21 After Words, Inc.
18 Alexa Lee Gallery
32 Anderson and Associates
11 Ann Arbor Acura
11 Ann Arbor Art Association
25 Ann Arbor Reproductive
Medicine 40 Ann Arbor Symphony
Orchestra 37 Arbor Hospice
9 Argicro's Restaurant
14 ATY5
55 Beacon Investment Company
17 Benefit Source
15 Bodman, Longley and
Dahling 54 Kutcl Long
10 Cafe Marie
30 Center for Facial and Cosmetic Surgery
18 Charles Reinhart Company 13 Chelsea Community
35 Chris Triola Gallery 39 DeBoer Gallery 21 Detroit Edison 20 Dickinson, Wright, Moon,
VanDuscn and Freeman 27 Dobb's Opticians 17 Dobson-McOmber Agency
19 Dough Boys Bakery
35 Emerson School
26 Englander's Other Place 17 ERIM
34 First Martin Corporation 29 First of America Bank 19 Ford Motor Company
27 Fraleigh's Landscape 32 General Motors
Corporation 34 Glacier Hills 29 Great Lakes Fitness and
13 Hagopian World of Rugs 37 Harmony House
36 Hill Auditorium
Campaign and Seat Sale
39 Interior Development, Inc. 2 Jacobson's 20 Jet-Away Travel
39 John Leidy Shops
13 {Catherine's Catering and Special Events
40 King's Keyboard House
15 Lewis ewelers 12 M-Care
29 Marty's Menswear
56 Matthew C. Hoffmann
16 Maude's
42 Miller, Canfield, Paddock
and Stone
25 Mundus and Mundus, Iiu 8 NBD Bank, Trust Division 31 Nichols, Sacks, Slank
and Sweet
42 Overture Audio
17 Plymouth Guitar Gallery
34 Professional Automotive
35 Red Hawk Bar and Grill
30 Regrets Only
12 Schlanderer Jewelry 37 Seva Restaurant 28 SKR Classical
23 Society Bank
33 Sweet Lorraine's 20 Sweetwaters Cafe 4 The Edward Surovell
Company 54 Toledo Museum of Art
31 Top Drawer
33 Ufer and Company Insurance
37 Ulrich's Bookstore
39 University of Michigan l i Botanical Gardens
30 University Productions
43 Whole Foods Market 33 WQRS
27 Wright, Griffin, Davis and Company

Download PDF